^^..-..^'•■^f -:^i  ■  . 


UC-NRLF 


EES  OF 
ADVERTISING 
ARRANGEMENT 

FRANK      ALVAH      PARSONS 


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Jtiain  Libi 


PRINCIPLES  OF 
A  OVERT  I  SING 
ARRANGEMENT 

FRANK  ALVAH   PARSONS 


BiMi  iMii  imir 


mum  AUT  MfiANS  TOMG 

believe  tJiAt  Karmony  ie  the  laav  oF 
liie  ancL  is  fundbouctitaL  in  tke  EXr 
vurie  econon^;  tk^t  maov  expreeees 
mi^  law  dF  raonrunWf  wKicK  ia  bcAUr 
ty^  in  proportion  to  ibs  posscasicn 
oF  Kis  consctousn£56;  and  Kis  re- 
sponee  to  it:  irt  Vue  dLsiily  llvincr^  ♦  T 
believe  that  tlie  qiulity  oFKarmonioue 
rclaiionsKip  existinir  between  colons  and 
forma,  or  between  the  parte  and  rfie  wkole^ 
ov  between  the  worker  3jxd  his  mate-- 
rial,  in  ar^  ReUl  oF  labor^  constitutes 
Art;    Txyr  Art  to  appear  in  tKe  worke 
oFtnan,  or  for  hinx  to  appreciate  its 
presence,  it  must  be  there  as  a.  workf 
tncr  element  in  both  his  con^tcicxiB^ 
arul  unconscious  life.  It  must  be  the 
cause,  and  not  the  effect^  oF  harmonious 
livincr  aruivujtkuao.v  I  believe  that  the 
realization  orowze  ideals  in  any  maLte- 
rial  form  is  that  maais  liiohest  Artex- 
presaion,  arui  that  his  understandinooF 
ib3  Beauty  is  the  loiohest  form,  op  his 
Art  appreciation  *>    Fraixlc  AlvA  Paraon^ 


BM'  IBBi  iMMir  f  Mil  i^wr  "•'■^ 


DBIBI 


ima 


THE  PRINCIPLES 
OF  ADVERTISING 
ARRANGEMENT 

FRANK  ALVAH  PARSONS 

PRESIDENT    OF    THE    NEW    YORK 
SCHOOL  OF  FINE  AND  APPLIED  ART 


THIRD   EDITION  1 91 7 

PUBLISHED     FOR   THE    ADVERTISING     MEn's   LEAGUE   OF   NEW   YORK    CITY   BY 

THE  PRANG  COMPANY 

NEW  YORK       CHICAGO       BOSTON       ATLANTA       DALLAS 


■ 
■ 


COPYRIGHT.  1912,  BY  THE  ADVERTISING 
MEN'S    LEAGUE    OK    NEW    YOliK    CITY 


-/c .  c/ep/ .    I  ^  '^/ 


Main  LiTft. 
V 
Agric.  Dept. 


THB-PLIM  PTON-  PRBSS 
NORWOOD-MASS-U-S'A 


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THE    CONTENTS 

tFI  AI'TKU  PACK 

I     Tin:  Mi:\NiNc;  and  Importance  of  Advertisino 15 

II     Till.  I'l.AcK  OF  Related  Shapes  in  Advertising   ....  25 

III     TiiK  Su;nii  u  \Ni  E  OF  Rai.ance  in  .\i)\F.k'iisiNn 35 

1\'        .\Io\  E.MENT    .\S    .\    \'ir.\L    l'\\CTOR    IN    ADVERTISING     ....  45 

\'     Emi'iiasis  as  Ai'I'med  in  .\i)\t:kitsiN(;  Construction,  ^j 

\'\      I'sK  AND  Ar.rsE  oi"  Decoration  and  Orxament '>') 

\'I1        L'-i:   AND  Al'.LSE  OF   DECORATION    AND  ORNAMENT 7^ 

\TII     The  Pro\ixi;e  and  Power  of  Color  in  Advertising  .  8<9 

TX     The  Selection  and  L'se  of  Tn  te  in  .\i)\'eri  ising  ....  107 

X     The  Toi-cKiRAi-Hv  uf  Advertising   119 


Dane 


HOD  oil 


3S71)04 


THIS  BOOK  IS  CORDIALLY 
DEDICATED  TO  MY  FRIEND, 
WILLIAM  H.  INGERSOLL, 
WHOSE  INTEREST  IN  IN- 
DUSTRIAL BETTERMENT 
HAS     MADE     IT     POSSIBLE 


amc 
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3ISDC 


THE      FOREWORD 

The  erroneous  idea  as  to  the  meaning  of  Art  and  its 
application  tn  industrial  problems,  more  particularly 
in  the  advertising  field,  is  the  reason  for  this  book.  The 
term  ''prettiness,"  frequently  used  as  a  synonym  for  Art, 
gives  an  entirely  wrong  impression.  Pictures  and  draw- 
ings, particularly  in  color,  often  pass  for  art  objects 
when  the  Art  in  them  is  too  slight  to  be  detected.  Art 
is  quality — not  mere  material.  Its  elements  are  fitness 
and  beauty.  The  successful  choice  and  arrangement 
of  materials  of  any  kind  must  take  into  account  this  art 
ijuality  because  human  intelligence  demands  fitness  in 
things.  The  same  human  being  loves  and  requires  the 
element  of  beauty  in  all  objects  with  which  he  is 
associated. 

Art  is  a  force  and  is,  therefore,  subject  to  laws  or  prin- 
ciples. A  knowledge  of  Art  as  a  force  in  advertising 
means  a  knowledge  of  the  principles  of  fit  arrangement 
and  harmonious  color.  These  are  common  to  every  field 
of  so-called  Applied  Art.  This  modest  effort  is  not 
calculated  to  e.xhaust  the  subject.  It  is  only  a  set  of 
condensed  abstracts  taken  from  ten  lectures  given  before 
the  Advertising  Men's  League  of  New  York  Citv.  Its 
aim  is  to  make  clear  some  principles  of  form  and  color, 
and  to  apply  them  specifically  in  some  of  the  fields  of 
this  important  subject.  If  it  proves  to  the  advertiser 
that  "Order  is  heaven's  first  law";  to  the  business  man 
that  Quality,  not  Quantity,  counts,  and  to  the  public  in 
general  that  color  and  arrangement,  each  speaks  its  own 
language,  then  it  will  have  done  its  work. 


■  ■c 


3BIBC 


■  ■ 
II 


TH  K  M  I'.AN  1  NG 
AND  IMPORTANCE 
OF    ADVERTISING 


C    IT    A    P    T    K    R      O    X    E 


BCSI 


HBDC 


=IBBC 


IDBBC 


HIDB 


THE      M   K  A  N  I  N  G      AND 
IMPORTANCK    OF  ADVERTISING 


CHAPTFR    I 


■ 

B 


Efficiency  is 

the  criterion 
o(  success.  The  successful 
producer  of  any  commodity 
must  place  tliis  commodity  be- 
fore the  con- 
s  u  m  e  r.  He 
does  this  large- 
ly through  a 
process  termed 
ad\'ertising, 
which  is  an- 
other term  for 
modern  sales- 
manship. It 
seems,  then, 
that  efficient 
ad\'ertising 
means  success- 
ful business. 
Granting  this, 
anv  discussion 
of  the  subject, 
however  lim- 
ited, involves  a 
study  of  each 
of     the     estab- 


IS  YOl'R  PRINTED  MATTER  PRO- 
DUCING  SATISFACTORY   RESULTS? 

THE  Anal  (ett  of  a  catalof  is  t«n(it)le  rvturot 
—  fuu  tt  tcrvod  tht  purpose  for  wKtch  It  waj  tesuod 
A  catalof  that  do«a  not  appeal  lo  and  intcrcai  the 
recipacni  la  waited 

Much  adremamc  IkUa  ahort  of  the  mark  tpccauac  ot  the 
iAck  d  kncwlHlgr  of  thoae  prcpanng  iL 

We  have  cpecialKcd  on  catalof  making  and  oAcv  to 
fcncral  advertiaert  an  uniurpaaaed  aemcc  We  bnn(  to 
the  work  a  thorough  traifunc  m  mo4em  ■cAmc  methodic 
amsti  of  taite  and  tktU,  a  iplendid  mechanical  equipment 
and  an  afnb«t>on  to  excel  SatisOod  cuatomcra  in  amnj 
atatca  evidence  our  aucceaa. 

We  should  apprecaate  an  opporrumry  to  help  fou  aoh« 
your  putbaty  proUcma  (rocn  a  typofraphlc  standpoint 


Wc  tMT«  Imm4  a 
•«  bav*  pkmrd  ard 


aooa  eflnttMBSnf  ^sMfaitt  or  anf% 

You  ■Tuutd  tMv*  U*  booa.  Ii 

Om*  tny^blTf  wt  can  aaj  favm 


THEKALKHOFF'COMPANY 

rtllONCII  AMD  rRODUCmt  OP  PaiHTED  won  OP  OUALITT 
>SI    WILLIAM    ST  HIW    TOIE 


A  GOOD  I'AGE  AL)\  EKTISKMLM  IN  CAT- 
ALOG SHOWING  GOOD  MARGINS,  WELL 
RF.LATF.D  MASSES  OF  TYPE  AND  WELL 
COMPOSED  WITHLV  THE  PAGE  LIMIT. 


manship.  I  understand  it  to  be 
coordinate  in  its  meaning  with 
the  term  salesmansliip  in  its 
broadest  sense.  I  understand  it  to 
involve  a  knowledge  of  men  and 

what  they  want 
or  need.  It  al- 
so involves  the 
materials  that 
men  have  to 
sell,  and  how 
these  materials 
are  related  to 
the  individual 
who  needs 
them.  Again, 
I  understand 
it  to  mean  a 
knowledge  of 
how  to  bring 
these  things  to 
the  attention 
or  notice  of 
the  people  in 
such  a  way 
that  thev  will 
take  them.     Tf 


lished  forces  known  to  be  active     you    agree   with    me    that   this 
in  producingthe  results  desired,     is  what  advertising  is,  we  can 


For  the  purpose  of  a  common 
understanding  in  this  matter, 
let  us  state  briefly  the  meaning 
of  some  fundamental  terms. 

I  understand  advertising  to 
mean  Twentieth  Centurv  sales- 


think  together. 

Advertising  is  second  to  no 
otiier  form  of  expression,  sec- 
ond to  nothing  in  its  import- 
ance just  now  in  everyday  life. 
There  can  be  no  question  but 


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what  it  is  of  vital  interest  to  the  Every  man  who  has  work  to 

man  who  buys  as  well  as  to  the  do  of  any  kind  ought  to  get  two 

man  who  has  something  to  sell,  things  out  of  it.    He  should  se- 

and  I  want  to    make   you  feel  cure  a  return  for  what  he  does, 

that  it  also  involves  that  thing  He  wants  also,  or  should  want, 

which  is  the  expression  of  what  to  get  pleasure  from  what  he 


INXORRECT  PRINTED  PAGE  MAKING 
AN  UNCOMFORTABLE  APPEAL;  CEN- 
TER OF  MASS  FALLS  BELOW  OPTICAL 
CENTER.  REVERSED  MARGIN  WIDTHS 
AND     DISTRACTING    MASS     IN     CORNER. 


SHOWING  ATTRACTIVE  PRINTED 
PAGE  MASS  WITH  \\'  E  L  L- 
RELATED  AND  PRACTICAL  MARGIN. 
NO  DISTRACTING  MASS  IN  CORNER. 
OPTICAL      CENTER      WELL      PLACED. 


■ 
B 


you  have  to  sell  in  the  most 
effective  way  that  it  can  be  ex- 
pressed; namely,  the  written  or 
printed  advertisement.  When 
we  get  an  advertisement  that  is 
just  as  effective  as  it  can  be 
made,  we  have  a  good  one. 
When  T  say  effective,  I  mean 
when  it  is  one  that  does  the 
business  or  delivers  the  goods. 


does,  and  he  ought  to  give  a 
certain  amount  of  satisfaction 
to  others  by  what  he  does.  I 
understand  this  second  thing  to 
be  Art.  I  want  to  make  that 
clear  now,  so  that  you  won't 
think  that  Art  is  something 
that  it  is  not. 

I    understand    Art    to    be    a 


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quality    which     an     advertise-  and  can't  do  without  it.     Now 

ment  should  have.   When  1  say  when     I     can    show    that    the 

quality  1  mean    fitness    first, —  (lour  is  for  vou,  and  vou  want 

the    fitness    of    that    advertise-  the   flour,    that   is   a   good   ad- 

nient  to  do  the  work  it  is  in-  vertisenient.       That  is  part  of 

tended  to  do.  Art. 

If   I   take  a  harrel  of  flour  to  So  of   anvthine  whatever  that 


B 


B 


A  I'RlNiKi)  PAoE  r.RoKKN  INK)  LNKK- 
L.\TEn  SHAPES  AND  SIZES,  AND  INTO 
BADLY  ARRANGED  MASSES  OF 
TYPE  AND  BLANK  SPACES. 
NOTE     THE     WEAK     BASE     EFFECT. 


B 


A  I'RlNrKl)  I'AcE  BRoKKN  INTO  TVl'E 
MATTER  WELL  RELATED  IN  SHAPES 
AND  SIZES.  AND  PLACED  AT  THE  COR- 
RECT DISTANCES  SO  AS  TO  UNIFY 
THREE      THOUGHTS      OR      STATEMENTS. 


B 
■ 


B 

e 


advertise,  and  use  the  finest  pic- 
ture of  a  harrel  vou  can  im- 
agine, hut  put  nothing  else  in 
the  advertisement,  it  is  no  good 
as  an  advertisement  for  llour. 
It  is  no  good  unless  there  is 
something  to  show  that  the 
flour  has  a  use ;  that  you  need  it. 


i  place  before  you  ;  it  must  first 
have  the  quality  of  effective- 
ness to  do  the  work.  If  I  can 
show  you  tliat  Art  helps  to 
make  an  advertisement  produce 
results,  then  Art  will  be  a  valu- 
able factor  as  a  force  in  our 
advertising  work. 


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I  said  a  man  ought  to  get  into  one  quality — the  quality 
some  pleasure  out  of  what  he  that  should  appear  in  every- 
does,  and  he  ought  to  give  other  thing  that  exists ;  that  is,  its  fit- 
people  some  by  what  he  does,  "ess  for  its  use  and  the  har- 
The  pleasure  "a  work  gives  mony  or  beauty  of  the  thing  to 
through  its  appearance  is  also  ^^^^  sense  or  sight, 
an  element  of  the  Art  in  it.  The  If  1  can  prove  a  beautiful  ad- 
general  look  or  appearance,  vertisement  is  more  effective 
whether  of  set-up  or  general  than  an  ugly 
make-up,  is  its 
beauty. 

Now,  there  are 
two  things 
which  make  an 
object  artistic; 
its  efficiency 
and  its  beauty, 
or  the  pleas- 
ure it  gives 
through  the 
sense  of  sight. 
This  is  har- 
m  o  n  y — h  a  r- 
mony  of  pur- 
pose, harmony 
of  line,  har- 
mony of  color, 
ha  rmony  of 
ornament,  har- 
mony  in    form 

and  arrangement.  When  these 
things  are  discordant  it  is  not 
artistic.  Man  naturally  likes 
concord  or  harmony. 

The  average  individual  ap- 
preciates    harmonious     things. 

Then,  let  us  look  at  Art  from  goods  must  become  known,  not 
the  very  beginning  as  just  two  to  one  man,  not  to  another  ad- 
elements — two   elements   fused    vertising  man,  but  to   all   the 


one,  then  it  is 
well  to  study 
the  laws  which 
underlie  its 
harmonization, 
as  Art  must 
therefore  be  an 
advantage  in 
the  commercial 
return  that  the 
advertisement 
gives.  I  want 
to  show  you 
that  art  and 
quality  or  fit- 
ness and  beauty 
aid  the  adver- 
t  i  s  i  n  g  man 
v.. ■-..-  i    commercially, 

A    PAGE    SHOWING    ADS    SO    ARRAXGED  ^ud       aid       him 

AS     TO     BE    WELL-RELATED     IN     SHAI'E  a  1  S  O       i  U      t  h  6 
AND       SIZE      TO      EACH      OTHER      AND  .  '  ,     , 

TO      THE      SHAPE      OF      THE      PAGE.  piCaSUrC  Ol    tnC 

work  as  a  stim- 
ulating factor  in  life. 

Again,  if  we  are  to  see  Twen- 
tieth Century  salesmanship  ex- 
pressed in  advertising,  we  must 
get  in  personal  touch  with  the 
people  in  the  right  way.     The 


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people  that  are  going  to  use  the 
thing  we  sell.  I  have  foinul 
this  out  in  my  work  with  adver- 
tising men.  ^^'hen  tiiev  talk 
thev  think  of  themselves,  of 
their  own  kind,  people  who 
have  the  same  amomit  and  kind 
of  knowledge  o\  aiivertising, 
rather  than  the  "benighted  gen- 
eral public."  It 
is  astonishing 
to  talk  witii  an 
a  d  \'  e  r  t  i  s  i  n  g 
man  and  see 
how  much  lie 
takes  it  for 
granted  the 
public  knows. 


I 

j               MARTHA 

WALTER 

!                 PORTRAIT  &   GENRE    PAINTER                 \ 

Sl'BJF.CTS     FROM     FRANCE.     HOLLAND.                        j 
1                       SPAIN    flALY.  DALMXTIA  A  AMERICA 

AT    HOMX, 

WEDNESDAYS 
FRHM   J   I'  ST  II.   H 

STUDIO. 

COLONIAL  STUDIOS 

FI.\RMO\IOrS  AND  UNUSr.M.LV  EFFFTT- 
I\-K  PKR.SON.VL  r.rSINESS  C.\Rn  WITH 
!'I.K.\SI.\G  MARGINS  AND  W  FI.I- RK 
LAIKU       .MASSES      OF      TYTE      MATTER. 


eral  laws  that  control  men's 
ininiis.  When  vou  iiave  got 
them,  you  have  the  first  thing 
an  advertising  man  w  ants.  No 
matter  iiow  big  or  little  he 
is,  he  has  hoKl  of  the  thing 
that  applies  to  all  the  people, 
lie  has  one  thintj;  that  makes 
effective     advertising   possible. 

If  you  are  ad- 
V  c  r  t  i  s  i  n  g 
watches,   you 
perhaps    know 
all  vou  need  to 
k  n  o  w   about 
watches  — 
nearly  every- 
body   has    a 
watch.      You 
have   the   men, 
you    know    the 
material,     and 
you  know  the  laws  that  govern 
the  minds  of  men.  \Miat  you  do 
need  further  is  a  knowledge  of 
what   colors,    forms    and    lines 
mean,  or  should  mean,  to  the 
public — what  the  general  laws 


Now,  as  we  go 
on,  won't  you 
bear    in    mind 

that  the  public  doesn't  know 
what  \;)u  think  it  knows.  It 
won't  do  what  you  think  it 
will,  because  it  has  not  been 
associated  with  vour  ideas. 
That  is  the  way  it  was  with  me 
when  I  first  began  to  talk  with  of  arrangement  of  things  really 
advertising  men.  The  terms  are.  When  you  know  the  lawsof 
used  were  foreign  to  me — they  arrangement  of  color  and  lines 
were  like  a  foreign  tongue  that  and  forms,  you  are  shortlv  go 
I  did  not  understand.  Their 
methods  of  arranging  things 
are  just  as  foreign  to  the  gen- 
eral public.  They  arc  C(Miven- 
tional,  traditional  and  hack- 
neyed. The  fundamental  thing  nims.  It  must  first  be  of  such  a 
is  knowledge  of  men  and  a  nature  that  whoever  sees  it  will 
general  knowledge  of  the  laws  stop  involuntarilv  and  look  at 
of  the  mind.     There  are  gen-     it   again.     Any   advertisement 


uigto  know  the  law?  of  material. 

The  next  point  T  want  to  bring 
out  is  this:  I  take  it  that  an  ad- 
vertisement   has    four    distinct 


■ 


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that  passes  unnoticed  is  of  no 
account. 

But  there  are  advertisements 
that  stop  you  short,  and  that  is 
all  they  do.  Go  out  in  Herald 
Square  and  look.  You  will  see 
color,  form  and  motion  turned 
loose.  Every  motion,  every 
color,  every  shape  that  has  ever 
been  known  is  there.  You  stop. 
You  don't  see  anybody  stay 
long,  but  they  look,  and  they 
go  on.  I  have  asked  in  many 
places: 

"Do  you  know  anybody  who 
has  ever  bought  anything  that 
is  advertised  on  Broadway  be- 
tween Herald  Square  and 
Fifty-ninth  Street?" 

I  have  never  found  this  riotous 
violence  effective  except  to 
amuse  or  stop  me.  No  appeal 
to  intelligence  is  made. 

First,  as  I  said,  we  must  make 
people  notice;  if  they  do  not, 
the  advertisement  is  useless.  In 
the  second  place,  it  must  hold 
the  attention  and  interest  long 
enough  to  have  one  see  what  is 
there,  and  to  impress  one  so 
that  when  he  goes  away  he  will 
not  forget  what  has  happened. 
Third,  T  believe  that  in  these 
modern  times  you  have  to 
stick  to  the  truth  in  your  ad- 
vertisements a  little  more 
closely.  I  believe  that  you  win 
the  confidence  of  people  by 
saying  what  is  so  better  than  by 


saying  what  is  not  so.  If  you  do 
not,  you  lose  what  1  believe  is  a 
fundamental  thing  in  getting 
people  to  buy  goods. 

I  don't  mean  that  you  really, 
voluntarily  lie  in  your  adver- 
tisements, but  the  pictures  you 
use  to  ornament  things,  the 
decorative  material  you  use, 
the  kind  of  lettering  you  em- 
ploy, are  the  deceptions  I 
mean.  The  color  you  use,  if 
you  do  not  know  what  these 
things  mean,  may  be  a  lie  and 
not  the  truth.  If  such  things 
have  a  fundamental,  fixed 
meaning  in  human  knowledge, 
it  naturally  makes  a  great  deal 
of  difference  how  you  use  them. 

The  fourth  requisite  is  to  do 
this  work  with  the  least  pos- 
sible money  and  in  the  least 
possible  time.  The  advertise- 
ment must  arrest  the  attention 
of  the  observer;  it  must  hold 
the  attention  strongly  enough 
to  deliver  the  goods,  and,  in  or- 
der to  do  that,  it  must  have  the 
element  of  truth  clearly  ex- 
pressed. Finally,  it  must  do  its 
work  in  the  least  possible  time 
and  with  the  least  possible  ex- 
penditure of  money,  and  time. 

Granting  these  things,  we  want 
to  know  next  what  is  this  lan- 
guage we  are  using  in  advertis- 
ing, of  what  is  it  made?  Our 
language  in  advertisements  is 
first  made  of  color.     Some  ad- 


■  BC 


Dmmii 


IBBC 


DBS 


lOBC 


niacic 


Diauc 


zioDa 


B 


Q 

B 


vcrtisements  are  made  up  or 
printed  witli  two  of  them,  and 
some  with  all  of  them,  so  we 
oui^ht  to  know  what  color  really 
means. 

Suppose  I  lived  in  a  dark  room 
witii  one  window  in  it,  in  a  ten- 
storv  buildini^.  I  would  ha\c 
the  problem  of  lamp  siiades, 
wall  paper,  window  curtains, 
and,  beyond  all,  the  decoration 
of  the  room.  If  1  furnish  my 
room  in  dark  blue,  1  destroy  the 
lii^ht,  and  prevent  artificial 
liu;ht  from  doin<^  its  work,  be- 
cause blue  absorbs  light.  On 
the  other  hand,  if  I  paper  my 
room  in  li,u;ht  yellow,  with 
bri_ght  curtains  of  yellow  in  the 
windows  and  light  vellow 
shades  on  mv  lamps,  my  room 
will  be  12  times  lighter  than  it 
would  have  been  if  I  had  used 
a  dark  violet.  Tf  it  is  a  fact 
that  vellow  is  i2  times  more 
forceful  in  its  carrying  power 
and  luminosity,  it  is  well  to 
know  it,  and  how  to  use  that 
fact  in  advertising. 

Another  thing  is  interesting. 
Some  interior  decorators  have 
been  experimenting  with  red 
and  blue  as  wall-coverings.  It 
was  found  that  the  walls  seemed 
to  come  in  toward  the  eye 
about  ?>0  per  cent  of  the  distance 
from  the  original  side  wall,  or 
to  make  the  room  seem  .'^0  per 
cent  smaller  with  red  than  with 


white  on  the  wall,  because  red 
is  an  e.xciting,  aggressive  color 
— the  sensation  reaches  the 
brain  through  the  eye  cjuicker, 
and  in  its  (]uickness  seems  to 
bring  things  toward  one.  As 
red  comes  at  vou  in  wall  paper, 
blue  goes  from  vou.  This  color 
is  retreating  in  its  appeal.  Al- 
most 30  per  cent  in  size  is 
gained  by  decorating  a  room  in 
blue  of  the  same  value  as  the 
red.  These  things  will  help  us 
in  the  choice  of  papers,  inks,  etc. 

Color  should  be  a  power,  a 
force  in  advertising,  and  should 
be  studied  the  same  as  any  lan- 
guage is  studied,  in  order  to  be 
effective,  and,  therefore,  profit- 
able. 

The  second  element  in  this  lan- 
guage is  shape  or  form.  The 
general  shape  of  the  enclosing 
form  is  one  of  the  most  neces- 
sary things  for  us  to  studv,  and 
I  want  to  begin  this  section  of 
the  work  with  the  first  prin- 
ciple of  form. 

Furniture  and  pictures  have  a 
relation,  harmonious  or  other- 
wise, to  tiie  size  anil  shape  of 
the  places  where  they  are  put. 
Advertising  matter,  as  masses, 
should  be  related  to  the  shape 
of  and  the  size  of  the  page  on 
which  it  goes.  It  should  har- 
monize with  that  space  ac- 
cording to  certain  laws,  but  it 
should  have  around  it  margins 


B 


Dl 


UODC 


DBOai 


21 


SIID[ 


ISBC 


numiii 


DBnc 


or  plain  places,  particularly  in 
newspapers,  magazines,  books 
and  pamphlets. 

With  these  margins  we  want  to 
deal  next.  At  this  point  it  is 
probably  wise  to  develop  a  law. 
I  want  to  recall  a  law  known 
as  ''the  Greek  law  of  area"  to 
you  in  this  way.  If  you  have  a 
ratio  between  three  widths  or 
three  sizes  which  is  approxi- 
mately as  five  is  to  seven  and  to 
eleven,  you  will  have  nearly 
what  the  Greeks  thought  were 
the  most  comfortable  abstract 
proportions.  Tf  I  had  eleven 
square  inches  in  one  piece  of 
set-up,  and  seven  in  another, 
and  five  in  another,  these  sizes 
would  be  well  related,  as  to 
area,  that  is,  subtly  and  Inter- 
estins:ly  related. 

There  are  several  things  to  get 
out  of  that  law  at  this  point. 
The  first  of  these  sizes  is  ap- 
proximately eleven;  this  one  is 
seven,  and  that  is  five  inches  in 


area,  and  they  are  well  related. 
These  should  form  the  widths 
of  margins  around  pages  when 
things  are  going  to  look  well. 
It  makes  a  difiference  in  catch- 
ing the  eye  what  the  margin  is, 
as  well  as  what  the  subject-mat- 
ter is.  The  mechanical,  the 
traditional  margin  is  unin- 
teresting. 

The  most  pleasing  and  efifective 
marginal  arrangement  is  to 
have  the  widest  margin  at  the 
bottom,  the  top  next,  and  the 
sides  next. 

Now  again,  the  relation  of 
these  widths — the  widest  at  the 
bottom,  the  next  at  the  top,  and 
the  two  sides  less  and  alike — 
should  be  in  the  ratio  of  eleven 
units  to  seven  and  five,  to  get 
the  best  proportion.  This,  then, 
is  the  first  application  of  the 
Greek  law  to  the  margined 
page,  no  matter  what  the  page 
has  included  in  it — printing, 
ornaments  or  other  matter. 


WHAT  THERE  IS  IN  A  MAN  GOES  INTO  WHAT  HE  DOES, 
AND  NOTHING  ELSE  GOES  IN.  ONLY  AS  WE  TEACH, 
TRAIN,  CULTIVATE  AND  NURTURE  THIS  IDEA  OF 
FITNESS  AND  BEAUTY  IN  EVERYTHING,  WILL  IT  BE 
POSSIBLE  TO  PRODUCE  A  RACE  THAT  HAS  IN  IT  THE 
ART  SENSE.  THE  ART  SENSE  IS  ESSENTIAL  TO  MAN'S 
HAPPINESS  AND  HIS  EFFICIENCY  IN  ALL  SOCIAL  AND 
ECONOMIC  LIFE.  IT  IS  NOT  ENOUGH  TO  TEACH 
READING,       WRITING.       AND      ARITHMETIC.  F.      A.     P. 


THE  PLACE  OF 
RELATED  SHAPES 
IN  ADVERTISLXG 

C  H   A  P  T  K  R        TWO 


I 


aai 


mjzic 


THK    PLACE    OF    RELATED 
SHAPES    IN   ADV^ERTISING 


B 
Q 


S 
B 


B 


B 
0 


C  H  A  PT  R  R    T  T.     Adver- 

t  i  sing 
is  one  of  the  vital  and  interest- 
int^  phases  of  applied  design. 
Design  is  the  selecting  and  ar- 
ranging of  material  for  the  pur- 
jiose  of  use  and  beauty.  \\'hen 
a  thing  is  useful,  it  is  artistic; 
when  it  is  beautiful,  it  is  ar- 
tistic; when  it  is  both,  it  has 
compassed  the  fullest  and  most 
complete  idea  of  art  quality. 

All  types  of  design  are  con- 
trolled by  exactly  the  same 
principles,  under  the  limita- 
tions and  possibilities  of  the 
particular  kind  of  material  in 
which  they  are  to  be  worked, 
'i'he  architect  designs  the  facade 
of  a  building  by  choosing  dis- 
creetly the  material  of  which  it 
is  to  be  built;  the  windows, 
their  size;  the  supporting  col- 
umns, and  the  other  material 
that  goes  to  make  up  the  facade 
of  tile  building. 

The  interior  decorator  plans  his 
sitle  wall  with  its  baseboard, 
wall  covering,  windows,  fire- 
place, pictures,  ornaments,  and 
its  furniture  against  the  wall, 
with  exactly  the  same  principles 
of  arrangement  in  mind  as  the 


architect  in  designing  the  side 
of  the  building.  The  rug  de- 
signer designs  his  carpet  or  rug 
by  choosing  and  arranging, 
with  exactly  the  same  idea  as 
the  architect,  the  interior  deco- 
rator, and  other  designers  use 
in  their  fields  of  design. 

Do  you  see  clearly,  then,  that 
design  is  a  matter  of  selecting 
and  arranging?  A  man  who 
would  be  a  designer  in  the  true 
sense  must  learn  to  select  dis- 
creetly what  he  uses  in  his  work, 
and  then  he  must  learn  to  ar- 
range what  he  selects  in  the 
most  effective  possible  manner. 
The  architect,  in  his  power  to 
select  and  arrange  the  outside 
appearance  of  the  building,  is 
limited  by  certain  things  in 
stone,  in  wood,  in  plaster,  in 
fixed  sizes  of  doors  and  win- 
dows and  the  like.  He  is  limited, 
but  not  by  the  same  things  that 
limit  the  advertising  man.  The 
rug  designer  is  limited  by  cer- 
tain things  as  to  the  weaving 
and  knotting  and  tying  and  so 
forth.  The  advertising  man  is 
limited  by  certain  page  limits, 
certain  definite  boundary  limits 
of  the  single  ad  ;  limits  in  color; 


■  ■c 


DBBC 


HBBIC 


3HBC 


25 


Bmr 
BI — 


DBBC 


DDinc 


niuyoc 


limits  in  type,  size  and  pos- 
sible arrangement;  limits  in 
decorative  material,  historic 
or  otherwise;  in  pictorial  pos- 
sibilities; in  many  mechani- 
cal    ways     that    the    architect 


make  it  clear  that  while  every 
phase  of  this  work  is  limited  by 
certain  definite  conditions  that 
the  other  fellow  in  other  phases 
of  design  need  not  know,  at  the 
same  time,  there  are  laws  of  ar- 


— 1 

"\ 

y' 

'-, 

■  y 

V 

y 

^-^ 

^ 

y^= 

'—^ 

y 

N 

^ 

^\ 

^v. 

y 

^. 

i 

TRADE  MARK 

^ 

^— V 

*s. 

1 

==^ 

>^= 

7 

-^ 

/ 

/ 

s 


a 


TYPE  MATTER  AND  TRADEMARK 
POORLY  ARRANGED,  SHOWIN'G  THE 
UNPLEASANT  AND  DISTRACTING  EF- 
FECT   OF    INCONSISTENT     SHAPES. 

or  the  interior  decorator  or 
the  rug  designer  knows  not 
of. 

Every  phase  of  design  has  Its 
limits,  but  in  the  abstract  the 
arrangement  of  material  and 
the  selection  of  this  arranged 
material  are  controlled  by  pre- 
cisely the  same  laws.  I  want  to 


THE  SAME  MATTER  BETTER  ORGAN- 
IZED AND  ARRANGED  INTO  MORE 
CORRECTLY  RELATED  AND  THERE- 
FORE PLEASING  AND  EFFECTIVE  FORMS. 

rangement  which  are  posi- 
tively common  to  every  phase 
of  expression. 

Printed  advertising  is  that  form 
of  design  which  has  for  its  ob- 
ject the  selecting  and  arranging 
of  words  in  type;  descriptive 
effects  or  decorative  effects; 
pictorial,  illustrative,  effects  in 


BODC 


26 


lonc 


dodiiie: 


300  BDC 


DnDc 


DISBS 


3oai 


lEnmc 


I(D  QC 


ncaa 

— la 


black  and  white  and  color,  in 
such  a  way  that  the  ad  shall  be 
pleasing  and  effective.     By  ef- 


tlie  truth  about  the  article,  and 
do  all  three  with  the  least 
money  and  in  the  least  time. 


Q 


'?  Neiv  YorK  tdison  Lompan^ 

u/ty-fivr  Duane  Street^ 


§ 
a 


I-KIIKKIIKAI)      WITH      I  N  I'l.KASAX  1       SllAl'KS. 
CNKKr.ATKD  TO   KNCLOSIXC    FORM   OF   PAl'KR. 


THE  NEW  YORK  EDISON  COMmNY 


Fifty-five   Dujnc  Street 


if)! 


a 


l.h  ITHKIII.  \ii      Willi       W  hl.l.  kl.l.Al  i-.l>      MlAri.>      A.N:i      iipi) 
FORMS  WHICH  ARi:  IIARMOMZFD  WITH  ENCLOSING  FORMS. 

fectivc,  I  mean  it  shall  absolute-  ^^'hen    a    designer   can    design 

ly  do  the  four  things  that  every  an  ad  by  the  laws  of  order  and 

ad  must  do.  namely:  arrest  the  arrangement    which    shall    ac- 

attention,  convince  the  individ-  complish  tliese  four  things,  he 

ual  whose  attention  is  arrested  is  a   real   designer  in  advertis- 

of  the  merit  of  the  article,  speak  ing. 


acBc 


naoc 


nioDDc: 


DDEIC: 


=inDC 


Dna 


27 


IBC 


DESIDI 


HBEDC 


D^l 


=)■!■ 
li 


§ 


i 


We  started  in  Chapter  One  to     eral  principle  called  "Consist- 
develop  what  are  known  as  the     cnt  variety  in  shapes  and  sizes." 


W^t                                                                  ^^^^^^^^^^                                 ^^^^^^^^^^^^BvTlUr  ^^r                 '    ^B^.J-9 

^^^^53fniiie  (ioll^l^  tne  IMe.   100  shines  for  a  dim^ 

V^A 

IXEJ-FICIE.XT  AXD  DISTRACTING  EFFECT  FROM  UNRELATED  SHAPES 
AND  THE  DISORGANIZED  A  R  R  A  N  G  E  M  E  N  T.  (THE  HEAVY 
LINES     HAVE     BEEN      INTRODUCED     TO     EMPHASIZE     THE     BAD     ARRANGEMENT.) 


Get  off  at  Astor  Place  for  the 
February  Furniture  Sale  at 
the  John  W€mamaker  Store 


Scde  from  February 
1st  to  28th  inclusive 


MADE  EFFECTU'E  BY  SHAPES  THAT  ARE  RELATED  TO  EAC:iI  OTHI.R 
AND      TO      THE      ENCLOSING      FORM.      NOTE      THE      ORGANIZED      ARRANGEMENT. 

"Laws  of  Order"  or  the  "Prin-  I  want  these  terms  to  become 
ciples  of  Arrangement,"  and  we  just  as  familiar  to  you  as  A-B- 
touched  briefly  on  the  first  gen-     C.      We    discussed    consistent 


28 


DBIBI 


Qcsc: 
Q 


UBIBC 


Domc 


none 


DZDC 


pnia 

IQ 


sizes  as  they  are  controlled  by     The   circle   is   nionotonous  be- 
the  Greek  law  of  proportion^     cause  it  chani^es  its  form  exact- 


that  proportion  that  subtly 
pleases  and  attracts  and  con- 
vinces because  of  the  variety 
of  sizes  of  which  it  is  composeil 
— sizes  which   are  neither  too 


A  COUNTER  DISPLAY  CARD 
WHOSE  ERRATIC  AND  EVE-COMPEL- 
LING SHAPE  DETRACTS  PROM  THAT 
OF    THE    OBJECT    DISPLAYED    UPON    IT. 


ly  the  same  at  every  point  in  the 
circumference,  p  resent  int^  no 
variety  whatexer  in  its  contour 
always  i^oin*^  on  the  same  - 
any  number  of  repetitions,  all 


A  CARD  WHOSE  IdRM  CONTRASTS 
WITH  THE  DISPLAYED  OM.IECT.  IS 
HARMONIZED  BY  TYPE  AT  TOP. 
AND    WHOSE    SIlAl'E    IS    UNOBTRUSIVE. 


much  alike  nor  too  radically 
different  each  from  the  other  to 
appear  together  pleasantly  and 
convincingly. 

There  is  another  side  to  this 
principle  which  we  must  deal 
with  here,  known  as  consistent 
shapes.  The  two  most  radically 
different  things  that  can  be 
found  in  form,  anci  the  most 
monotonous  two  things  that 
e.xist  are  the  S(]uare  and  the 
circle. 


of  the  same  proportions  —abso- 
lutely no  variety  in  it. 

There  is  more  pleasure  through 
variety  in  the  curve  of  the 
ellipse  than  there  is  in  the  cir- 
cumference of  a  circle. 

llie  circumference  of  the 
circle  is  equidistant  from  the 
center  at  all  points.  This  makes 
the  circumference  of  the  circle 
change  its  direction  uniformly 
throughout. 


DBBC 


29 


GdDil 


manm 


D  sni  BD  c 


naaiBic 


3iianic 


niBDBl 


The     curve     of     the     ellipse  beautiful   forms   are  based   on 

changes    irregularly   from   one  the  oval,  and  not  the  circle  or 

end  of  the  major  axis  to  the  end  the  ellipse?     If  you   do,   then 

of  the  minor  axis.    This  change  you  will  see  what  I  mean  when 

is   repeated   to  form  the  other  I   say  that   the   greatest   possi- 

half  of  the  ellipse.    This  gives  bility  of  variety  is  in  the  oval, 


ii  .■,iipi  »• 


ill 


L* 


ARTS-® 
DECORATION 


A  COVER  DESIGN  I  N  T  R  O  D  U  C- 
I  X  G  AN  U  N  S  U  P  P  O  RT  E  D  CIRCLE. 
UNRELATED     TO     ITS      SURROUNDINGS. 


ARTS  AND 
tDECORATION 


A  CIRCLE  USED  OX  AN  OBLOXG, 
VET  MADE  HARMONIOUS  AXD 
PLEASING      BV      SUPPORTIXG      AXGLES. 


greater  variety  to  the  elliptical 
curve  than  can  possibly  be  got- 
ten from  the  curve  of  the  circle. 

A  step  further,  and  you  will  see 
that  the  oval,  shaped  like  an 
egg,  presents  a  still  further  pos- 
sibility of  variety  in  line  than 
either  the  circle  or  the  ellipse. 
Do  you  not  recall  that  Greek 
and  Japanese  pottery  and  other 


the  next  in  the  ellipse,  and  the 
least  in  the  circle. 

The  four  sides  of  the  square, 
equal  in  length,  are  nn)noto- 
nous.  The  square  is  more  mo- 
notonous than  the  oblong, 
which  has  two  equal  sides  of 
one  length  and  two  equal  sides 
of  another  length.  There  is  in- 
terest in  the  oblong  because  of 


Qomc 


^BHEflC 


HCaQDII 


IIODEDC 


^ESJilQC 


□ 


ami 'BBii  icipi^z  iifagi'  '■■!  i^izjma 

fil  — 

its  two  lengths.    It  makes  a  bet-  use   of   circles   and   squares    in 

ter  book  page.     You  see  it  in  close  proximity  is   a  waste  of 

street    car    advertisements,    in  good  material   and   it  will   not 

pamphlet  covers,   in   the  small  pay,    in   that    it   is   using   vour 

advertisements  that  are  part  of  strongest  points  of  contrast  for 

the    set-up    of    this    page.       1  places  where  the  greatest  good 

notice    advertising    men    very  is  not  gained  by  tlieir  use.     By 

I       seldom    use    a    S(]uare,    feeling  so    using    them,    thev    become 

that   it   is   monotonous,    1   sup-  common  and  fail  to  make  anv 

pose.  appeal  when  they  are  used  for 

™,  ....  emphasis. 
i  he  circle  is  the  most  monoto- 
nous curved  line  figure  you  can  One  of  the  most  monotonous 
I  use,  presenting  the  least  possi-  tilings  that  has  ever  been  done 
bility  of  variety.  The  square  '"  tlie  history  of  the  world  of 
is  the  most  monotonous  straight  design,  is  taking  one  square  and 
line  figure.  If  they  are  used  to-  putting  a  smaller  one  into  it  on 
gether  they  are  the  most  wide-  the  diagonal,  and  another 
Iv  different  shapes  possible,  and  smaller  one  in  that,  and  another 
are,  therefore,  not  consistently  smaller  one,  and  so  on.  When 
related  in  variety.  They  are  in-  ^  "designer"  doesn't  know  how 
consistently,  loudly,  broadly  to  get  one  more  new  scroll  out 
far  apart,  at  the  very  extremes  <>f  the  acanthus  leaf,  he  general- 
of  shapes,  therefore  too  differ-  Iv  resorts  to  this  process  of 
ent  to  use  together.  manipulating  squares. 

The  limit  of  contrast  in  shapes  ^^^^'^       besides       inconsistent 

is    the    circle    and    the    square,  s'^apes,     we     very     frequently 

The  next  limit  is  the  circle  and  ^^«me    across   consistent   shapes 

the  oblong.     The  expenditure  ^^^^^'^  placed,  so  that  it  is  the 

of     the     greatest     contrast     in  arrangement    as    well     as    the 

shape  or  the   greatest  contrast  choice  of  the  shapes  we  must 

in  color  on  a  thing  that  docs  not  consider.  In  designs  of  any  type, 

B       call  for  the  greatest  contrast  is  ^'^^  ^^V  "^^  ^'"'C  best  things,  you 

"       waste— just  as  if  I  had  expend-  niav  choose  the  most  effective 

ed  monevor  ink  where  I  didn't  things  and  spm!  them  bv  their 

need  it.  "  I  had  better  save  the  application.     I  might  have  the 

monev  and  the  ink  for  the  last  ^^n    furniture,    the    best    wall 

word,'  or  the  word   I   want  to  P'^P^r.     pictures,     carpets     and 

make  vitnllv  strong.  ^^^^^   ^^^'^   '^^l^cr   interior   deco- 
rating material,  vet  T  can  make 

I  hold  that  the  indiscriminate  a  mess  of  a  room  if  I  don't  know 


B 


nnni lennn  iniini  iWBir 


31 


jiDinE 


J  Q  IDC 


s 


§ 


how  or  where  to  put  the  things. 

I  should  judge  in  advertis- 
ing, if  a  man  doesn't  know  of 
the  possibilities  of  arrange- 
ment, he  may  select  an  excellent 
shape  in  type  and  decorative 
units  and  yet  have  a  bad  result, 
because  there  is  no  thought 
upon  the  arrangement,  al- 
though the  selection  is  good.  I 
want  to  call  your  attention  to 
the  very  badly  related  shapes 
made  by  type  masses  as  well  as 
by  decorative  material  in  the 
mass  of  general  advertising. 
How  does  it  appeal  to  you? 

Can  you  see  then,  from  these  il- 
lustrations, that  consistent  va- 
riety in  shapes  has  a  place  in 
the  advertisement  but  that  the 
indiscriminate  use  of  shapes 
destroys  the  possibility  of 
strength,  because  there  is  no 
co-ordination  there;  because 
there  is  no  relationship?  Will 
you  look  at  the  usual  street  car 
card,  with  this  point  in  mind? 
Notice  how  many  different 
forms  of  material  all  appear  in 
one  card  and  how  weak  and 
mixed  the  appeal  of  the  whole 
card  is  on  account  of  this. 

There  are  many  cards  in  every 
car  in  which  there  are  so  many 
forms  in  the  type  arrangement 
that  there  is  no  one  leading 
thought,  no  consecutive  leading 
quality  to  the  advertisement  at 
all.    It  is  not  so  much  the  sepa- 


ration of  the  advertisement  but 
the  use  of  too  many  shapes  in 
the  type  and  decorative  matter 
that  is  used. 

The  time  will  come,  before  the 
end  of  this  year  I  hope,  when 
you  will  think  of  the  Greek  law 
when  you  see  a  straight  line 
figure  with  another  straight 
line  figure,  or  a  curved  line  fig- 
ure with  another  curved  line 
figure,  or  a  curved  with  a 
straight  line  figure. 

A  circle  within  a  square,  these 
being  the  most  opposite  shapes, 
expresses  the  pole  of  greatest 
difference.  If  I  place  an  octa- 
gon within  a  circle,  is  it  more 
harmonious  with  the  circle  than 
is  the  square?  It  is.  There  is 
some  point  where  there  is  re- 
lationship between  curved  line 
figures  and  straight  line  figures 
which  is  pleasing. 

A  triangle  in  a  circle  is  very 
bad.  If  I  put  the  triangle  in  a 
square  it  is  also  bad.  If  I  put 
a  hexagon  within  a  square,  it 
will  be  more  nearly  harmoni- 
ous than  the  triangle.  If  I  put 
a  block  of  print  or  a  title  across 
an  ad,  and  directly  under  that  a 
circle,  and  then  use  straight 
lines  below  that,  the  result  is 
beyond  hope  as  to  harmony. 

In  brief,  then,  consistently  re- 
lated shapes  and  sizes  is  the  first 
principle  in  the  work  of  adver- 
tising arrangement. 


e 
u 

32 


SIGNIFICANCE 
OF  BALANCE  IN 
ADVERTISING 

CI  I  A  VT  V.  \<    'III  R  EE 


iDOic: 


DDODC 


ninac 


Diinc 


noia 


B 


SIGNIFICANCE  OF 

BALANCK     IN  A  l)\' KR'fl  SI  NG 

C  1 1  A  P  7^  E  R    T  T  T .    I  f     I  pan  this  lead   pencil,  the  pan 

hold  will    inimcdiatclv    sink    to    the 

in  niv  hand  a  pair  of  balance  limit  of  its  possibility,  and  the 

scales  which  are  absolutely  cor-  left  hand  one  will   rise.     They 

rect,    with    two    pans,    one    at  will    then    seem    U)   be    farther 


I 


I 


II 


III 


i\' 


(I)  ATTRACTIONS  WHICH  ARE  li(JUAL— IX  SIZE,  SHATE,  COLOR,  ETC.— }?ALA.\CE  AT 
EQUAL  DISTANCES  I'KOM  THEIR  CENTERS.  (II)  UNEQUAL  ATTRACTIONS  BALANCE  AT 
DIST.VNCES  FROM  THEIR  CENTERS  IN  LWERSE  RATIO  TO  THEIR  TOWERS  OF  AT- 
TRACTION. (Ill)  DIFFERENT  SIZED  ATTRACTIONS,  BALANCED  ON  EACH  OTHER  AND 
ON  THE  ACTUAL  CENTER  OF  THE  INCLOSING  FORM.  (IV)  SAME  AMOUNT  OF  MAT- 
TER ARRANGED  IN  BI-SY.MMETRIC  BALANCE.  LINE  SHOWS  ACTUAL  CENTER;  DOTTED 
LINE   OPTICAL  CENTER,    BALANCED   BOTH    ON    VERTICAL  AND   HORIZONTAL   AXES. 


either  end  of  the  beam,  the  two 
pans  will  rest — one  exactly  op- 
posite the  other  in  its  position. 
Ihis  is  due  to  the  fact  that  there 
is  a  law  called  the  law  of  t^ravi- 
tation  which  attracts  everythinii; 
towards  the  center  of  the 
earth,  and.  inasmuch  as  the 
right  hand  pan  is  attracteci  as 
strono^ly  as  the  left  hand  one, 
the  pans  rest. 

If  I  throw  into  the  rit^ht  hand 


apart  than  before,  and  you  will 
have  a  feeling  that  there  is 
something  wrong  with  the 
scales.  But  let  me  throw  an- 
other pencil  of  eijual  size  and 
weight  into  the  other  side  of 
the  scales,  and  the  beam  will 
immediatelv  become  level  again 
— the  e(]uilibrium  is  brought 
back — gravitation  has  asserted 
itself  equally  on  each  end,  an(i 
the  pans  are  at  rest  again  in 
their  original  position. 


□  CBC 


riOBC 


umiz  [ 


35 


[■DC 

if" 


Daac 


^tamn 


HBDC 


e 


There  are  two  words  that  I  cause  the  eye  is  not  very  sensi- 
want  you  to  get  from  this  illus-  tive  to  the  law  of  balance  any 
tration:  "attraction"  and  "rest."  more  than  the  other  senses  are. 
The  application  of  the  law  of  Few  people  not  expert  musi- 
gravitation  to  the  eye  is  called  cians  realize  the  balance  of  in- 
balance.    In  design  it  is  known     struments  in  an  orchestra  or  of 

as     balance,      voices     in     a 

whether  it  is  |  ZZIZIZIZ^  I  choir, 
architecture, 
interior  deco- 
ration, adver- 
tising design, 
carpet  or  rug 
design,  or 
whatever  it  is. 
We  use  that 
term  in  criti- 
cism of  any 
design,  and  it 
is  the  name  of 
the  second 
fundamental 
principle  of 
arrangement. 


MATTER  ARRAXGED  WITHIN  HOR- 
I  Z  O  X  T  A  L  FORM,  BALANCED  ON 
OPTICAL    CENTER    (DOTTED    LINE), 


I  want  you  to 
feel  that  there 
is  nothing 
"art-schooly" 
about  that 
te  rm  "B  al- 
ance, "because 
it  is  the  law  of 


WILLIAM     M.    ODOM 


DKCORATOR  AND  ADVISORY  liUVF.R 
OF  TAPES  I'RIKS.KUU.S.  HANV;iN(;s. 
AND  PERIOD  EUKNISHINGS.  OUT  OF; 
T  O  \v  N  OR  D  E  R'S  W  I  1.1.  R  EjJ  E  I  V  E- 
CARK  KU  L'  ATTENTION.  INDIVIDUAL 
AND    OKIGIN-Ar.     DECORATIVE    SCHE.MES 

OfRce  ;     i'T.'"     HROADWAV       ' 
I*LtrH(tKe  9W.S  SCKIM  ».  \l  w     ^(    ,■■  k    lIl'V 


^.SL^l^^r^. 


A  BUSINESS  CARD  WITH  WELL- 
BALANCED  MASSES  OF  TYPE  MAT- 
TER     AXl)      WELL-RELATED      MARGINS. 


It  is  not 
strange  that 
we  fail  to  see 
when  things 
are  not  bal- 
anced in  ad- 
vertising, be- 
cause we  are 
not  accus- 
tomed  to  see 
them  so  ar- 
ranged. You 
can  see  that  to 
the  sight  the 
scales  are 
more  pleasing 
and  harmoni- 
ous and  rest- 
ful with  the 
earth's  sur- 
face, the  hori- 
zon and  the 
fl  o  o  r  line 
when  the 
beam  is  hori- 


eye  attraction,  just  as  gravita-     zontal  than  when  at  an  angle, 
tion    is    the  .law    of    so-called 


weight.  It  merely  puts  the  eye 
of  the  human  being  in  line  with 
the  law  of  gravitation.  We  no- 
tice this  law  of  balance  in  some 
things,  but  not  in  others,  be- 


If  I  should  place  a  board 
across  a  stone  wall  and  put  vou 
on  one  end,  and  get  on  the  other 
end  myself,  we  should  have  a 
more  restful  appearance  if  we 


I 
■ 


§ 


e 
e 


Dmrnc 


^■■t: 


36 


e 


Dame: 


DBKIC 


3B1B 


were  of  equal  weii^ht  aiul  tlie 
ends  of  the  board  were  at  e(]iial 
distance  from  the  wall,  than  if  I 
weighed  fiftv  pounds  more  than 
you.  The  board  line  wouhi  be 
more  harmonious  with  the  line 
of  the  stone  wall,  and  with  the 


scales  and  the  tccter-board,  be- 
cause of  the  page  limits  and 
Dther  conditions. 

Let  us  notice  next  wliat  tlic 
things  are  tiiat  attract  in  an  ad- 
vertisement,   or    some    uf    the 


■ 

■ 


i'/ 


>     Timely  Gifts* 

i    V.     Diamonds.. Jewelry. Walches.lhc 
^V-  ^      best  in  each  at  moderate  prices. 

An  economical  watch  is  the 

IniSprsoD^rendtxm 

,  *^    $522  to  $  1500 
A  jeweled  limepioco  pf  exceeding 
.iccufacv.  beauH'  ^ind  durahililv 


.\      .--IKKl-r     C.\R     .\  |)\   KK  r  1  .-^1.  .\!  I.  .\  I       Willi      WKLL    r..\  I..\  X(   K  1)      I  I.  L  C  .ST  K  .A- 
1  IONS    A  N  D    T  E  X  T    .M  .\  l'  T  !•:  R    A  N  D    W  E  L  L  •  R  E  L  A  T  E  D    I!  A  C  K  C.  R  O  U  N  D. 


surface  of  the  earth,  and  with 
all  things  related  to  that  pic- 
ture, than  it  would  be  with  one 
end  up  and  the  other  down,  the 
board  making  an  oblique  line. 

I  think  you  can  apply  that 
principle  just  as  strongly  in  tlie 
arrangeinent  of  the  material  of 
which  vour  ad  is  made — as 
soon  as  we  understand  that 
word  "attraction."  which  is  the 
power  a  thing  has  to  catch  and 
hold  the  attention.  Balance  is 
more  necessary  to  the  advertise- 
ment  than    in    the   case   of   the 


things  that  attract,  and  why. 
Does  it  make  anv  difference  in 
what  part  of  the  advertisement 
a  thing  appears,  as  to  whether 
or  not  you  see  it  quickly?  Is 
there  anv  choice,  in  other 
words,  as  to  what  part  of  the 
page  you  would  rather  have  if 
vou  were  advertising  in  a  news- 
paper? Tf  >;o.  what  l(Kation  is 
best? 

Here  is  one  position  in  the  top 
center  of  the  page  without 
much  displav.  Does  it  hold 
vou  better  than  if  it  were  in  the 


■ 


37 


IHBII 


^■■IC 


zima 


lower  left  corner?     I  want  to  Then,  in  our  question  of  bal- 

get    you    to    see    that    position  ance,  we  have  to  consider  odd 

counts  or  attracts  tlie  eye  nat-  sizes,  just  as  we  have  to  consider 

urally.    In  the  law  of  attraction  position   in   the  unit.     A  very 
there     is     the 


question  of 
position  then 
to  be  consid- 
ered, in  every 
arrangement, 
in  every  page 
set  up.  If  you 
will  agree 
with  that,  that 
is,  I  shouki 
judge,  the  first 
thing  to  be 
considered  as 
a  factor  in 
balance. 

Second,  if 
perfectly  con- 
sistent shapes 
are  used,  is 
there  the  same 
effect  as  if  in- 
consistent ones 


m 


I'.itciiicil    (!ii-.l>iuncd    Clutch 
^ic  I'uMcy  Dri\c  L.ithewas  desij^ncd 

T  '  the  dcMi.itid  toT  con^r.im  lirivt.  Iiii;h  ^ptcd  ^tct-Ii 

-i:-^  -  ri:c '"jlnul.  llh:isinit  i  s!nt;!c  bliiliiij;  or  tlinibic 
fif.:r.  iuit  us'.-^:t  Mc«  l*,.(i"iiTtd  Tositiw  Frutioi*  tor  the  drive 
and  rievvly  i!es'u:it'<'  ^li'lnli;  key  in  tfu-  ivri\,     rnnvcnielir 

tMnlrolllii.f  lt.iii.il;-h  in 'K'    .!l!sp;L.i-  '    '       '■         ;  nil; 


m 


WhltomK-l'.hnsd.-ll     XtMolune    Tool    Co 


m 


A  WELL-BALANCED  SINGLE  PAGE 
AD.  THOUGH  MADE  UP  OF 
MATERIAL    DIFFICULT    TO    PLACE    WELL. 


much  smaller 
or  very  much 
larger  spot  di- 
rects the  eye 
to  it  by  its 
contrast.  The 
u  n  b  a  lanced 
placing  calls 
the  attention 
every  time  to 
the  most  em- 
phatic c  o  n  - 
trast. 

The  next  im- 
portant thing 
is  the  unique 
picture  idea. 
We,  in  this 
country  more 
than  in  any 
other,  v  i  e  w 
this  as  essen- 
tial   to    every 


are  used?    If  not,  then  there  is  advertisement,  and  later  on  I 

something  in   a   radical   shape  shall   spend   an   entire   chapter 

that   attracts  the   eye,   is   there  upon  the  pictorial  as  related  to 

not?     The   second   thing   then  advertising.    I  find  that  in  Eu 


that  attracts  the  eye  is  odd 
shapes.  Whenever  I  change 
the  general  scheme  or  form  of 
my  set  up,  T  bid  for  a  look,  and 
if  I  don't  use  that  method  in- 
discriminately,  then   I    am   all 


ropean  countries  the  naturalis- 
tic pictorial  is  much  less  essen- 
tial to  an  understanding  of 
words  than  with  us.  This  is 
evidence  of  the  picture  book 
age  of  our  intelligence. 


right.    If  I  use  it  immoderately     I  want  to  have  you  see  whether 
I  am  all  wrong.  there  is  always  greater  attrac- 


i 

e 


QQB( 


mm 


§ 

IB 


aac 
Qi — 


DOtSC 


Dnnir 


zinnc 


DQn[ 


UCIQ 


tioii  in  the  pictorial  cut,  or 
wlicthcr  the  strait^ht  column, 
the  well  arrant^ed  mass,  attracts 
tiie  attention  just  as  iiuickly  in 
some  instances.  Does  it  seem  to 
make  any  difference  in  the  ar- 


\\  ith  understanding,  both  as  an 
attiacting  force  and  as  a  per- 
suasive factor. 

\\  e  perceive  that  certain  posi- 
tions attract  the  eve,  all  other 


ran^ijement    of    the    pai^e?      If     thini^s  bein<^  equal ;  second,  that 
pictures  draw  attention  they  be-    odd  or  peculiar  shapes  and  sizes 


come   a   factor 

in  balanced  ar- 
r  a  n  tj;  e  m  e  n  t, 
whether  they 
help  the  adver- 
tisement or  not, 
so  far  as  its  etli- 
ciency  is  con- 
cerned. 

Unique  and  pe- 
culiar decorat- 
ive matter  or 
m  a  t  e  r  i  a  1,  I 
thin  k,  also 
counts.  I  mean 
the  bc^rder,  the 
ornaments  and 
the  like.  You 
see  such  things 
q    u    i   c    k    !   v 


of  matter  at- 
tract the  eye; 
t  ii  i  r  il,  that 
iniicjue  or  new 
picture  illus- 
trations attract 
the  attention, 
ami,  fourth, 
that  all  pecu- 
liar decorative 
matter  possess- 
es an  attractive 
power.  As  a 
questi(Mi.  then, 
of  attraction, 
we  have  all 
these  things 
without  consid- 
ering color,  but 
we  do  have  to 
deal  with  white 


.\     V  U  L  L      P  .\  G  1£  -ARRANGE  M  E  N  T 

O  F    U  X  R  E  L  .\  T  E  D    .^  D  S     W  E  I,  L 

enough.      b  u  t    balanced  ix  ax  occult  style,   against    black, 

usually       you  a  n  d      b  1  a  c  k 

don't  need  them.     Balance,  you  airainst   white,   and    there   is   a 

see,  is  a  matter  of  attracting  the  difference        between        white 

eye,  but  if  a  thing  attracts  the  against  black  and  black  against 

eye    and    then    doesn't    sell,    it  white  in  power  of  appeal.     Wc 

doesn't  come  up  to  our  measure  shall   deal  with   that  when  we 

of  what  an  advertisement  ought  take  up  color.     1  just  want  vou 

to  do— catching  the  attention  is  to  sec  that  color  counts  in  the 

one   thing   and    delivering   the  matter  of  balance, 
goods  is  i]uite  another:  hence, 

the  necessity  for  using  balance  Now  wc  must  get  a  general  law 


Qmc 


naac 


DEunc 


DISDC 


DBBC 


39 


as  to  the  page  center  and  the  these  forms  and  sizes."  If  I 
placing  of  material  on  the  page  were  to  bring  to  you  the  illus- 
with  relation  to  the  center.  The  trations  and  designs  of  the  in- 
optical  center  of  the  page  is  a  terior  decorator,  the  exterior 
little  above  the  real  center,  and  architect  and  the  carpet  and 
around  about  this  is  a  natural  rug  weaver,  I  could  show  you 
location  for  the  center  of  page  that  in  advertising  design  you 
attraction.  Balance  is  reckoned  do  just  the  same  things  that 
from  right  to  left  of  a  vertical  these  others  do;  you  pick  out 
line  drawn  through  this  point,  the  same  figures  and  recognize 
and  above  and  below  a  horizon-  the  same  excellences;  in  short, 
tal  line  through  the  same  point,  you   stand   for  the   same  good 

things  that  other  people  stand 

There  are  two  types  of  balance  fo,-,  ^nd  the  man  who  violates 

recognized:    First,  the  bi-sym-  ^he    temperate    use    of    these 

metric  balance,  or  the  balance  things  you  find  to  be  ineffective 

in  which  there  is  the  same  de-  jn  his  work.     Then   if   I   can 

gree  of  attraction  on  either  side  piake  you  feel  that  the  temper- 

of  a  vertical  line  through  the  ^fg  use  is  the  telling  use,  vou 

center,    and,    second,    what    is  will  see  that  it  is  better  to  efim- 

known    as    the    occult   balance  jnate   this   tendency  to   overdo 

or    a    "felt"    balance.     Occult  things  —  over-use     material  — 

balance  is  that  balance  which  because  the  human  mind  can 

is    rather   sensed    than    mathe-  only  catch,  hold  and  digest  so 

matically    worked    out.     The  much  at  a  time.    That  has  been 

bi-symmetric  balance  is  simple,  proven.     When    we    overload 

dignified,  strong;  the  occult  is  any  one  of  the  human  senses 

interesting,  more  involved  and  with    material    beyond    its    ca- 

more  difficult  to  perceive  and  pacity  the  material  has  not  the 

control.     We    have,    then,    the  desired  effect, 
two  kinds  of  balance  to  reckon 

with,  and  we  must  choose  the  In  advertising,  more  than  in  any 

one  in  each  case  which  brings  other  phase  of  design,  we  can 

out  most  strongly  the  point  to  least   afford    to   waste    matter, 

be  made.  waste  money,  waste  time,  waste 

material;  so  I  take  it  that  the 

We  have  now  developed   two  fundamental  thing  is  to  see  the 

principles  of  general  arrange-  capacity  of  the  human  mind,  to 

ment  in  materials,  viz.:  "Con-  understand  what  are  the  laws  of 

sistent   shapes   and   sizes"    and  expression,  and  not  to  over-use 

"Balance    in    arrangement    of  these  forces  beyond  the  mind's 


e 
e 


40 


B 

B 


capacity.    This  is  the  commer-  dent  races.  You  will  see  in  five 

cial  standpoint  of  conservation  years  a  great  decrease  in  the  use 

instead  of  waste.  of  the  iiunian  fii^ure  in  adver- 

.  tisini^.  I'here  has  already  been 
i\ow,  there  IS  a  belief  in  ^ew  .^  ^/^^..^^  decrease  through  a 
^  ork  more  than  any  other  place  knowledge  of  the  waste  of  time 
1  ever  saw,  and  in  this  countrv  .^,^j  sp^^e,  and  through  the  per- 
more  than  anv  other,  and  ception  that  a  sillv  mess  of  non- 
among  advertising  men  more  g^nse  does  not  advertise,  though 
than  other  people,  that  the  it  mav  amuse.  It  is  true  the  in- 
human being,  or  the  picture  of  temperate  use  of  pictures  in  this 
the   human   being,   catches   the  ph.^se  of  design  mav  attract  a 

g       eye  and  holds  attention  quicker  certain  class,  but  it  "is  not  true 

8       andsurer  than  anything  else.    T  that  their  use  is  good  advertis- 

don't  believe  that  the  public  are  ing  when  thev  are  irrelevant  to 

such    idiots    that    they    always  the    point    of    the    advertising 

have  to  have  a  human  being  pe-  idea,     lliev  mav  make  or  mar 

culiarly  treated  to  interest  them,  the  balance  of  the  page,  but  not 

T       ,         ,    ^         ,  r  improve  the  advertisement  as  to 

1    acknowledge   the   power   of  its  qualitv  as  a  selling  agent, 
human   interest,   but   there   are 

other   things   of   more    import-  It  must  be  clear,  then,  that  ar- 

ance  than  lugging  in  the  human  ranging   a   page   or   a   card    to 

figure   with   every  conceivable  amuse,  is  not  arranging  one  that 

form  of  advertising.  This  prac-  will  convince  an  intelligent  be- 

tice  has  grown  out  of  the  mis-  ing  of  the  value  of  the  article 

taken   idea  of  art  as  a  "pretty  one  is  seeking  to  deliver  to  the 

thing"     and,     particularly,     a  unsuspecting  public.  This  same 

B        prettv  picture  of  a  prettv  wo-  equality  of  inconsistencv  is  seen 

man,    and    that    this    incentive  in  most  of  our  moving-picture, 

must  be  offered  evervbodv   in  eveningelectric-light  signs  now 

order  to  induce  them  to  look  at  causing  so  much  talk.     On  the 

and  become  interested  in  any-  one  hand  the  producing  house 

B       thing.  and    the    advertising   man    are 

putting  their  power,  monev  and 
The  people  in  this  country  are  time  into  the  one  idea  of  out- 
practical,  and  they  shcnild  not  doing  every  other  similar  house 
think  of  pictures  as  the  only  in  freakish  ideas  and  size  and 
thing  that  will  appeal  in  adver-  arrangement  of  material  with 
rising,  lliis  idea  is  for  primi-  the  one  thought  that  tlicv  arc 
tive  people,  children  and  deca-  attracting    attention.      On    the 


■  ■c 


41 


Other  hand,  the  poor  wretch  and  the  intelligent  man  is  see- 
seeking  a  show  without  money  ing  the  show  and  trying  to  ex- 
is  getting  his  amusement  free,     cuse  its  existence. 


i 
a 


ART  IN  ITS  QUALITY  HAS  TWO  ELEMENTS— FITNESS  AND 
BEAUTY.     LET   US    NOT    IMAGINE   THAT   THINGS   WHICH 
i  ARE  REALLY  FIT  ARE  ALWAYS  BEAUTIFUL;   LET   US   NOT 

THINK  WE  ARE  ARTISTIC  BECAUSE  WE  LIKE  AN  UGLY 
THING,  SIMPLY  BECAUSE  IT  IS  FIT  FOR  ITS  PURPOSE. 
IT  IS  NOT  NECESSARY  THAT  A  DISHPAN  SHOULD 
BE  UGLY  TO  BE  A  DISHPAN.  IT  IS  NOT  NECESSARY 
THAT  A  PIANO  SHOULD  BE  OUTRAGEOUS  IN  ITS  PRO- 
PORTIONS IN  ORDER  TO  BE  A  PIANO  AND  TO  RESPOND^ 
WELL  TO  THE  ARTIST'S  TOUCH.  IT  IS  NOT  NECESSARY 
THAT  A  HAT  SHOULD  BE  AN  UMBRELLA  OR  A  FLOWER 
POT  TO  BE  A  HAT.  IT  MAY  BE  BEAUTIFUL  AND 
STILL  BE  A  HAT.  IT  IS  NOT  NECESSARY  THAT  AN 
ADVERTISEMENT  SHOULD  GIVE  A  SHOCK  OF  DISGUST 
IN  ORDER  TO  BE  AN  ADVERTISEMENT.  NEITHER  IS 
IT  ESSENTIAL  THAT  A  THING  SHALL  BE  TOO  .ESTHETIC 
TO  BE  WHOLESOME,  IN  ORDER  TO  BE  .■ARTISTIC. 
A  THING  CAN  BE  BEAUTIFUL  AND  STILL  BE  DIGNIFIED; 
A  THING  CAN  BE  BEAUTIFUL  AND  STILL  BE  LIVABLE;  A 
THING  CAN  BE  BEAUTIFUL  AND  STILL  BE  MANLY  OR 
WOMANLY.  WHEN  THIS  QUALITY  IS  PRESENT  IN  ANY 
MADE    THING.    THERE    WE    SHALL    FIND    ART.      F.   A.   P. 

e 


-imni innimi  — iimii—  iniwi  iman 


42 


iMOX'KxMENT  AS  A 
VITAL  FACTOR 
IN  ADVERTISING 

CHAPTER        FOUR 


OBC 


Dsac 


Dial 


lO  QC 


Diane 


■ 


M  O  \^  E  M  E  N  T    AS    A    VITAL 
FACTOR     IN     ADVERTISING 


a 


g 


CHAPTER     T  y     If    at-     spot.    When  we  make  that  dis- 

tention  tance  i^rcater  than  the  width  of 
is  called  to  the  left  end  of  a  con-  the  spots  we  have  difficulty  in 
tinuous  line,  the  obvious  tend-     passing  from  spot  to  spot.    This 

proves  that 
there  is  a  law 
of  co-ordina- 
tion    between 


ency  is  to  fol- 
low the  line 
from  left  to 
rii^ht  to  its 
end.  This  is 
true  of  either 
the  straight  or 
the  curved 
line. 

The  eye  trav- 
els naturally 
and  continu- 
ously from 
left  to  right 
in  type,  in 
spots,  in  illus- 
tration, in  all 
things.  If  a 
series  of  spots 
arc  nearer  to- 
gether than 
the  distance 
across  any  of 
them,  wc  have 
no  difficulty  in 
reading  con- 
secutively;  that  is,  the  mind  has 
no  difficulty  in  traveling  from 
one  spot  to  another  when  the 
space  distance  between  them  is 
less  than  the  distance  across  each 


^uowisc.   THE   oR\-ior.s   tf.\- 

DK.VCY  OF  THE  EVE  TO  FOI.LOW 
LI\E.S  -AXn  SPOT  SUCCE.SSIOXS  TO 
THE       END      OF      THE      SEQUENCE. 


SHOWING  HOW  AX  EXfLOSIxr, 
FORM  rH.\NGES  ITS  APPARF.NT 
PROPORTIONS  ACCORDING  TO  THE 
DIRECTION    OF    LINE    MOVEMENTS. 


t  ii  i  n  g  s,  de- 
pendent upon 
the  distance 
they  are  apart 
and  that  the 
law  of  coor- 
dination o  f 
thought  d  e- 
pendsupon  this 
distance  also. 

The  principle 
o  f  arrange- 
m  c  n  t  by 
which  the  eye 
is  led  natural- 
ly from  one 
part  of  a  de- 
sign or  adver- 
t  i  s  e  m  e  n  t  to 
another  part 
is  known  as 
m  o  V  e  m  c  n  t ; 
movement  being  the  arrange- 
ment which  carries  the  ob- 
server's eve  from  place  to  place 
in  the  order  or  sequence  in 
which  you  wish  him  to  go. 


1 
i 


45 


Qdsr 


noiBC 


ntniCDc: 


3  Game 


DiBnc 


nma 


§ 

s 


Advertising  must  first  com-  Because  these  laws  of  arrange- 
mand  attention;  it  must  make  ment  and  attraction  are  active 
its  appeal  in  such  a  natural  wav  in  every  animal  and  individual, 
that  there  is  no  effort  on  the  they  should  appear  in  the  ar- 
part  of  the  one  who  seeks  to  rangement  of  material  that 
grasp  the  im-  individuals 

deal  with,  no 
matter  what 
that  material 
is.  This  is  the 
reason  that  the 
advertisement 
which  is  well 
set  up,  which 
is  orderly  ar- 
ranged, which 
conforms  to 
the  laws  of 
a  r  - 

of 
the  universe, 
is  more  ap- 
pealing than 
a  disconnect- 
e  d  or  u  n  - 
o  r  g  a  n  i  zed 
one.  It  is 
built  in  con- 
formity with 
the  same  laws 
the     individual 


OPPOSING  LINES  CALL  ATTKXTIOX 
TO  THE  POINT  OF  STRONGEST  OP- 
POSITION. C()\'ER  LINES  A,  B  AND 
C  AND  NOTE  RESULT.  ALSO  SEE 
HOW  THESE  LINES  HELP  TO  DE- 
STROY THE  CENTERING  OF  ATTEN- 
TION ON  POINTS  X  AND  Y.  INCON- 
SISTENT MOVEMENTS  DESTROY  UNITY. 


general 


rangement 


portant  points 
to  be  made,  in 
the  order  of 
their  impor- 
tance. One  of 
the  principles 
o  f  arrange- 
ment which  is 
the  most  active 
in  attracting 
and  directing 
attention  to 
certain  places 
is  this  princi- 
ple of  move- 
ment or  mo- 
tion. 

Since  order  is 
the  law  of  the 
universe; 
since  the  stars 
and  the  plan- 
ets are  swung 

from  day  to  day  and  year  to  year  under  which 
in  a  regular  orbit;  since  the  tide  lives.  If  those  laws  were  less 
is  governed  by  a  law  of  order;  uniform  in  nature  they  would 
since  the  world   is  held  in  its     "^^  ^PP^^^  so  strongly  in  adver 


A  WELL  BALANCED  ARRANGEMENT 
OF  LINES  AND  SPOT  COMPOSI- 
TION, CONSISTENT  IN  MOVEMENT. 
W  I  T  H     A     UNIT     AS     A     R  E  S  U  L  T. 


place  by  another  law;  since 
you  stand  upright  by  a  law  of 
attraction,  these  laws  of  ar- 
rangement are  active  in  every- 
thing which  enters  into  the  This  principle  of  movement  or 
life  of  the  individual.  motion,  being  the  law  by  which 


tising,  and,  therefore,  would  not 
be  worth  while  to  study  in  rela- 
tion to  the  arrangement  of  ad- 
vertising matter. 


e 


BIB' 


naDC 


IDC 


=IOB 


omcr 
i| — 


uaac 


3ICI] 


the  eye  moves,  is  active  in  de- 
cidint^  what  hcconics  the  im- 
pDrtaiit  tliiiii^  to  the  observer, 
in  everv  single  aiivertisement 
and  in  every  page  arrangement. 


cal  line  up  to  the  picture 
nioukiing.  It  is  inconsistent 
movement  when  it  takes  a  new 
direction  oblicjuelN'  from  the 
1  rame    to   a   picture   hook   and 


|i»i<  nil  cKfwtfBffc  ««e  li'inMe  |ocis*l  4-«»* 


§ 

B 


There's    Been 
A  Change 

in  nxL-<inlltiT|[   mcihoJt  with- 
in the  (UM  kw  ynn^-ft  chinec 
loc  bencf  mutu,  lower  cotu. 
incrr^cJ  oqtpuL 

This  chance   Has   been  brcrV 
i>rouehi  about  by  WotMlcr  Rock 

They  give  the   UrBc*('l>outble 
Dur^in  of  prolic.anJ  'earn  more* 
money  than  anyyiuuLu  nucKinct 
In  cjiitcncc.- 


Wonder 

Rock  Drills 


.ba>T    tbnc    b*e    pouts    to  intcfrvt    tbc 
nuDc  BMiucTr  «bo  k  lookmc  toi  tbc 
Jt»(  cftcinil  driU. 
The  WoodcT  R<xk  TkiB  b  ■ 
jdnU  osioc  oar-thml  Ifac  uf  nquircd  bj 
\ht  "two-oua"  drills 
juJiv4  by  wh»t  mriy  const*— <W  ••■••' 
bn  ei  fttltj  k.Mt  drilUiJ  f^  i^h*f  loot 
*/  mr  (f«/«M<d— tSe  Wondrr  R«k 
Dhn  don  mofT  tLin  uiy  other  dnlL 
I*  b  the  limplnt  ia  coctstruclkMi.  tbc 
to  nu  «nd  tbc  cbrspnt  to  npur. 
^^ad  rrpoin  ftt*  trm  ud  tar  brtwwn. 
AH  OTir  cUim  ait  purulMd  witb'a 
VnenrrTvfundfd  if  )-ou're  Dot  Mtaaftcd'* 

Hardsoci^  Wonder  Drill 
Company 

Otfumvra*   Iowa 


A  MAGAZINE  PAGE  WITH  LINES  AND 
lI.I.rSTKATIONS  CREATING  A  I-KEAK- 
ISII  MOTION,  UNPLEASANT  IX  SHAPE. 
niKECTloX  AND  PLACING,  AND  UN- 
BALANCING   AND    DIVIDING    THE    PAGE. 


If  tiie  movement  is  perfectly 
consistent,  it  is  always  in  iiar- 
monv  with  the  structure  of  the 
builded  thing.  For  example, 
the  picture  wire  is  harmonious 
when  it  is  at  right  angles  with 
the  picture  moulding,  and 
when  it  is  a  continuation  of 
the  side  of  the  frame  in  a  verti- 


Double  the  Purchasing  Power 
of  Your  Money 


Do     yrru     V -vow     tl'ijt     K..fTve     lurTtmnJ  n 

<h<  dciclop<n(Ai  ol   b'^k  I 
iwctnif      You  iol 

Do  jom  Imw  tKtr  ntrfnmm  h  jw 
tM>n<  nn  be  ^nnttctWf  tmi  tUf 
fttroiikcd  al  a  p(k<  lk«t   ti   lU.- 
lo«ilj  le«r      Yoiidofl't? 

THEN  jroy  0WV  ii  t< 

mU— to  ptmt  («i«tlf 
iBKtIifaK  ik-f  ^•-  , 
«UtH>*,      NcH    k 

Ivu   r^/   ,v, 


CI; 


lD.t..<ll,j9 


I  -  raa  ■»  h«  SB  ^Vb  ■ 


SEND  THAT  POSTAt  ' 


m, 


Brooks  ManufarturiiiK  Co..  103  Rust  ATcSajpuw.lftii. 

MOVEMENT  IN  ALL  DIUECTIGNS  PV 
1  IRNITURE  IN  IMI'OSSinLE  POSI- 
TIONS. GI\IN(-.  THE  IMPRESSION 
or  .Vl  LACK  or  KNOWLEDGE  OF 
GRAVITATION,  OF  CHOICE  OF  AR- 
TICLES, OF  SPACE  LI.MITS  OR  OF 
ARRANGEMENT.       MOST       UNPLEASANT. 

carries  the  eye  irresistibU  from 
the  picture  to  the  unimpor- 
tant   thing,    the    picture    hook. 

ANHH-n  a  curtain  is  luing  so  that 
its  lines  are  vertical  with  win- 
dow frame,  with  wall  positions, 
with     doors,     etc.,     it     is     har- 


■  ■c 


HBBC 


naon: 


47 


IBOI 


ioa[ 


Tiw  fwr" 


Done 


1 
■ 


aarc 
48 


monious  with  the  lines  of  the  never  until  it  is  essential.  It  is 
room  and  with  the  structure  of  only  a  question  of  judgment, 
the  room,  but  when  you  see  it     Inconsistent  motion  is  a  force 


COUSINS' ^^ 


COUSINS 

*m  riFiTON  STREFT, 


curved  out  of 
the  naturally 
vertical  hang, 
you  have  a  new 
motion  which 
destroys  the 
harmony  —  all 
the  rest  of  the 
window  be- 
comes unim- 
portant because 
your  eye  is 
directed  away 
from  it. 

In  advertising 
the  movement 
is  good  when  it 
is  in  harmony 
with  the  edges 
of  the  paper  on 
which  it  is 
printed,  or  the 
enclosing  form 
or  border,  and 
when  it  is  in 
harmony  with 
the  masses  of 
general  matter 
on  the  page. 
But  we  may 
violate  consist- 
ent movement 
when  it  is  necessarv.  There  is 
the  word  to  underline — when  it 
is  necessary.  Violate  it  when  it 
is  desirable  to  call  attention  to 
some     particular     place,     but 


«••  aKiT,  lEfi^i.  .mtt     ifj 


'XT'  *:;j.*'oVI  ^'*'^.  .----T. 

Nfw  Crop  Krcw-b  Fniil  in  5-pound  Botes 


SISQ 


FOR    EASTER 

V-t    •III    p»fh    hi    '<     Ik. 

bot>«  — aii»4  <  ■  ntf  I**. 
Bon  B«s(  ■■4  (horoliU* 
»n4  4iMKl*4  rh»folal/-« 
al  eOf.  Vif.  1  I  J.  I  li.ZJ/O 
And  3.00  prr  S  lb    B«i 


y*^ 


54  tAB^CLAV   n 
■&■■  B^4K&UU 


Office  &  Loft 
Moving       1^ 

-^<^    ._r££ 


e< 


oV 


VnC* 


••I    e«nd  far  iMImai*.  • 


XFAVSPAT'ER  AI)\'ERTISEMF.XT  SHOW- 
ING now  MOVEMENT  OF  SHOE  CAR- 
RIES THE  EVE  TO  THE  RIGHT  AND 
DOWN    TO    THE    MORGAN    &    BRO.    AD. 


A  glaw  o( 
health — clear 
•»  cry»ul— 
from  the 
I  a  m  o  u  • 
White  Rock 
Springs  a  t 
Waoke.ha, 
Wiu 


NEWSPAPER  ADVERTISEMENT  SHOW- 
ING ARROW  MOVEMENT  WELL 
USED.      THE      TEXT       IS      TOO      LOW. 


used  indiscrim- 
inately, w  hen 
simple  lines, 
straight  up  and 
down,  would 
do  as  well  and 
often  very 
much  better. 

It  seems  to  me 
that    we    want 
first   to    get    at 
two    points    of 
motion      or 
movement  that 
may  be   recog- 
nized    in     any 
discussion  0  f 
a  p  p  lication. 
One    is    called 
structural 
motion,  or  the 
build  of  things 
■ — where    one 
thing    goes 
against  another 
or    across    an- 
other.   Now, 
take  the  picture 
wire  that  does 
not   harmonize 
with  the  build 
of   the    picture 
frame  or  with  the  build  of  the 
room — that  is  called  opposition 
movement.     The  same  term  is 
used  when  one  line  crosses  an- 
other at  an  acute  angle,  or  when 


A  natural 
unchnrf ed 
water  —  a 
ref  rcaliin  f 
remedy  for 
K  i  d  D  e  V  , 
Stomach* 
and  Gouty 
complaints. 


a 


i 


^irnaic: 


HIBDC 


S 

a 


D 
B 


a  curved  line  crosses  a  straight  where  the  outside  shape  has 
line.  Note  that  in  all  such  hcen  kept  perfectly  consistent 
cases  the  attention  is  at  once  with  the  shape  of  the  enclosing 
called  to  the 
point  of  cross- 
ing. 


brings 


r  h  a  t 
me  to  corners. 
The  corner  of 
the  picture 
frame  is  the 
part  of  the 
frame  you  see, 
and  hence  it 
ought  to  be 
struct  u rally 
t  h  e  strongest 
part  of  the 
frame.  Where 
the  corner  of 
the  room  comes 


mM\         •k..i«   H*..ft..'»«V  IW.k.    <)<..m   ■^..a   «»flbi  t»^^  a    LS 


»*F«  •■'to  w4  ■MfM*  II  m  I.  rooa 
MM'*  ■«M»  «*j  T*v"«(«  lis*  w  psa 


Miller's 

CLCTVX*   TMAT   UAXM  OOOO  ' 


tonii  of  page 
or  border,  and 
inside  has  gone 
radically 
wrong.  There 
are  others  that 
have  the  masses 
of  material 
well  arranged 
in  the  body,  but 
no  strength  at 
structural 
e  d  g  e  s  of  t  h  e 
comp(Jsition. 


.\  -XKWsr.M'KR  .\I)\i:ktl-5Lmi;.\t  in 

WHICH  ILLUSTR.\TED  M.\TTKR. 
BY  POSITION.  RY  ACTIOS,  BY 
KI.NT)  .WD  BY  G.\ZE  MOVEMFNT 
C.\  r.  L  S  A  T  T  E  X  T  I  O  \  TO  SPE- 
CIFIC   F  .X  C  T  S    IX    THE    T  E  .X  T. 


One  thing 
which  is  always 
bad  is  where 
there  is  no  gen- 
together  is  the  strongest  struc-  eral  law  of  arrangement  ob- 
tural  place  in  the  room.  The  served  either  in  masses,  in  lines, 
corner  of  your  printed  page  is  or  in  shapes — where  the  masses 
its  strongest  structural  place  or  and  lines  and  shapes  do  notcor- 
point.  If  you  put  a  border  respond  with  each  other  in  any 
around  a  page  and  then  put  sense  whatever.  And  sometimes 
some  little  finicky  weak  thing  the  arrangement  is  modern  and 
in  the  corner  of  the  border  you  economic,  but  the  printer  goes 
ruin  it.  That  is  the  last  place  back  to  mediaeval  days  for  his 
for  weakness,  for  all  lines  lead  type.  We  are  not  living  in 
the  eye  directly  to  it.  mediaeval  times.    You  don't  eat 

or  sleep  or  work  or  dress  the 
The  second  type  of  motion  is  wav  they  did  then.  \\'^hy  print 
called    rhvthmic,    and    that    is     that    wav?     Learn     from     the 


what  we  use  to  get  grace  or 
ease  of  movement  like  the  rip- 
ples on  the  water. 


past ;  do  not  copy  it. 


Here  is  a  point  that  should  also 
be  made,    llie  cover  of  a  book 
We    often    see    advertisements     or  pamphlet  ought  to  be  in  the 


■  ■c 


DBBIC 


49 


B| — ■ 

same  spirit  as  the  inside  of  the  does    it   make    the    room    look 

book — in  meaning  and  in  form,  higher    or     lower?       Higher, 

The  book  cover  ought  to  be  an  doesn't  it?    Suppose  I  bring  the 

embodiment  and  manifestation  picture   moulding  down   three 

of  the  name  of  the  book — in  the  feet,  and  put  a  chair  rail  around 


TRENTOtrS  nVORITE  BOTTLED  BEER 


Oia5tocFHl«er  Old=5tocft|pdI«3B««r  Oia=5tock  falcffi^cr 


i^ 


^Old-Stock  iK*faIc»«cr 

•^^  fists' I 


ALWAYS 


^.  .A.^* 


~    Oia=5tock|>alc38«cr  *^/'  ^^  0ia5tocki>alc»««r    ^ 


■ 
■ 


CAR  CARD  SH  OWI  XG  TYPE  MATT  ER  IX  OPPOSITIOX  MOV  EM  EXT— 
U  X  X  E  C  E  S  S  A  R  Y,    D  I  S  T  R  A  C  T  I  X  G,    U  X  P  L  E  A  S  A  X  T    A  X.  D    I  X  E  F  F  E  C  T  I  V  E. 

XOTE      EFFECT      OF      TWO      KINDS      OF  TYPE      AXD      XEEDLESS      REPETITION. 

color  of  it;  in  words;  in  kind  of  the  room  three  and  one-half  feet 

printing;  in   the  shape  of   the  from  the  floor — it  looks  lower, 

letters,  in  everything.     If  it  is  doesn't  it?  I  would  thus  destroy 

not,  it  is  not  the  cover  for  that  the  shape  of  the  wall,  and  in 

book.    A  pamphlet  cover  ought  precisely  the  same  way  printers 

to  follow  the  same  line  of  com-  destroy    page    shapes    by    bad      a 

mon  sense.     Suppose  a  cover  is  margins  and  by  too  many  lines 

entitled  "Good  Printing."   If  it  in  the  wrong  direction.    Pages 

says  it  is  good  printing  it  should  that  started  out  to  be  in  good 

be  so,  but  the  shapes  of  which  proportion  are  often  destroyed 

the  cover  is  made  up  may  make  in  this  way. 
it  bad  printing,  and  there  may 

be  no  spaces  between  them  to  The  trademark,  often  in  itself 
give  coordination  to  its  parts,  and  often  by  its  placing,  de- 
Good  printing  must  express  stroys  the  spirit  and  harmony  of 
the  truth.  an  entire  page.     A  shape  can 

sometimes   be   used   twice   and 

If  I  have  a  striped  wall  paper  seem  less  bad  than  when  it  ap- 

with  the  stripes  up  and  down,  pears  but  once.     Then,  if  you 


50 


a 


■ ,g 


B 


e 

■ 


do  a  thing  that  is  a  violation  of  of  design.  Wc  try  to  get  tlic 
correct  principles — if  you  carry  motion  of  the  clothes  with  the 
it  far  enough  -do  it  times  general  contour  of  the  figure, 
enough — we  get  used  to  it.  'I'lie  and  make  the  lines  of  the  cos- 
point  is  that  the  less  you  violate  tumc  conform  to  the  line  of  the 
a  principle  for  tiie  sake  of  call-  figure.  We  do  that  in  men's 
ing  attention  the  more  that  de-  clothes  and  in  women's  clothes. 

parture    counts — the    more    it  .y.           ,          ^,.     .  ,.  ^  u\„\^  .,f 

'  .  ,             ,.           J           ,  1  lien,   tiiere   aie   two  knub  or 

sticks  out.  It  a  trademark  seems  .          r^          ..•           i    ^    »i 

J              .1                      ju   t  motion:   Opposition,  where  the 

to  destrov  the  harmony  and  bal-  j^_^^.^   oppose    each    other,    and 

ance  of  a  page,  use  it  twice-it  j^,^^.^,^,^^   ,,,^,^,  ^,,,  U,,,,  ,!„,, 

will  seem  less  prominent    and  -^^j^^,^    ;^^      ^^^jj^.j    ^^^    ^.^^^.,^ 

the  balance  of  the  ad  will  be  ^^^^^      Opposition   of    line   is 

preser\ed.  ^^^^^  ^^^  ^,.^U  attention  where  the 

If    an    inclosing    line    of    any  lines  meet  or  tend  to  meet,  but 

kind  is  used  all  of  the  material  is  never  to  be  used  except  to  call 

out  of  which  the  unit  is  made  particular  attention  there,  and 

must  be  inclosed.     How  would  should  never  be  used  in  adver- 

vou    like    a    portrait    of    your  tising  unless  it  is  essential  that 

friend  with  half  his  head  out  of  the  eye  should  go  to  that  point 

the  frame  on  the  wall  paper?  at  once.     Use  it  when  it  is  ab- 

This      undignified      breaking  solutely  necessary  to   get   that 

through  the  frame  is  a  cheap  point   before    the    public,    and 

fad,    and    has    no    permanent  make  all  other  things  as  har- 

placc  in  decent  arrangement.  monious  as  you  can.     Hie  eye 

.              ,    •         ,           ,  •  will  at  once  go  to  the  one  inhar- 

Let  us  bring  these   things  to-  ^^^^^^.^^^^  ^,^j 

gether    a    little.      In    the    nrst  ^^ 

place,  it  is  mv  desire  to  define  Rhythmic  lines  are  lines  of  the 

the   law  of   movement  so   that  greatest    harmony — lines    that 

vou  mav  have  that  fixed  as  in-  naturally  flow  together.     Keep 

tlucncing  the  position  of  every-  the  lines  nearest  to  the  outside 

thing  in  the  printed  advertise-  edge  of  the  page  as  nearly  par- 

B       ment,  just  the  same   as   in   the  allel  witli  the  edge  as  you  can. 

position   of   all   material   on    a  That  is  a  very  important  point. 

side  wall,   in   building  and   in  1  f  \ou  vary  from  it,  do  so  inside 

articles    of    furniture,    in    cos-  of  something  which   separates 

tume  and  in  design  and  fashion  the  edge  from  the  deviation.   It 

drawing.    There  is  exactly  the  is   then   supported.      It  simplv 

same    law    in    advertising    ar-  means   following  the  structure 

raiigcment  as  in  other  matters  of  vour  page  whenever  vou  can 


e 


i 
■ 


DBDr 


]  Ql  Q  [ 


J  ^1  ^Q  [ 


insia 


i 


e 


with  your  lines  of  ornament,  of 
type  and  of  illustration. 

Now  let  us  look  at  the  ways  in 
which  motion  is  secured.  In 
the  first  place,  you  get  move- 
ment by  line.  In  the  second 
place,  your  eye  passes  easily 
when  a  succession  of  spots  fol- 
low each  other  regularly — one 
mass  of  matter,  then  another, 
one  illustration,  or  a  bit  of  bor- 
der, and  another — the  eye  nat- 
urally goes  on  in  the  succession 
of  spots. 

You  get  movement  from  the 
gaze  direction  of  persons.  We 
call  it  ''gaze  movement.''  You 
have  seen  pictures  of  the  Ma- 
donna, the  child  in  her  arms 
and  some  saint  or  other  nearbv. 
The  Madonna  is  looking  at  the 
child  and  the  saint  is  looking  at 
the  Madonna;  you  look  at 
mother  or  saint  and  follow  their 
gaze  to  the  child  and  it  becomes 
the  center  of  interest.  It  is  very 
interesting  to  a  person  who  has 
sensed  this  to  see  these  adver- 
tisements with  half  the  people 
in  them  looking  out  of  the  pic- 
ture. In  most  of  them  the  eyes 
are  looking  away  from  the 
things  the  advertiser  wishes  to 
have  one  see.  It  is  important 
to  have  the  gaze  centered  on  the 
thing  you  want  to  emphasize. 
If  you  have  a  pretty  woman  and 
turn  her  awav  so  as  to  show  the 
back  of  her  neck,  it  ruins  the 


efficiency  of  the  matter  printed 
behind  her  head.  Gaze  move- 
ment is  as  important  as  the  line 
in  pointing  to  a  thing  to  be 
strongly  sensed.  A  man  shoot- 
ing a  gun  or  throwing  a  ball 
will  cause  you  to  look  at  the 
point  he  is  going  to  hit,  not  at 
the  man — you  look  in  the  direc- 
tion and  to  the  place  where  the 
bullet  or  ball  is  going.  If 
you  see  anybody  getting  ready 
to  shoot,  you  don't  look  at  the 
man  but  at  his  mark.  Such  ac- 
tion also  creates  movement  in  a 
certain  direction. 

There  are  four  things  to  deal 
with  then  all  the  time.  The 
line  and  where  it  leads  to ;  spots 
in  succession  and  their  final 
end;  the  gaze  direction  of  the 
people  or  animals  in  your  illus- 
trations, and  the  action  toward 
a  certain  place  or  thing.  Move- 
ment should  be  consistent 
throughout  the  given  unit, 
when  harmony  is  the  desired 
end.  When  not  consistent 
throughout  a  given  unit  use  the 
inconsistency  to  call  attention 
to  an  important  thing.  That 
means  never  unless  you  have 
to.  Movement  should  be  em- 
ployed like  other  forces — spar- 
ingly, not  inconsistentlv,  not 
haphazardly,  at  anv  old  time, 
in  any  old  wav,  in  any  old 
place,  because  it  cannot  do  its 
effective  work  when  it  is  used 
indiscriminatingly. 


52 


MMI  lOBl  ZjaiL  -laimr- 

__ 


Lines  of  attraction  in  movement  the    lower    line    of    the    page 

should  never  cross  each  other  limit. 
except  when  it  is  a  necessity  to 

center  the  attention  at  the  cross-  There  is  only  one  exxeption, 
ing  point,  and  never  at  the  hot-  and  that  is  when  the  pa^e  mat- 
tom  of  the  pai^e  ;  the  hottom  line  ter  looks  as  if  it  were  suspended 
should  be  sufficiently  separated  from  the  top  as  one  mass.  Then 
horizontallv  to  emphasize  the  that  is  the  most  important  place 
bottom  edt^e  of  the  pai^e.  The  to  support,  and  the  bottom  re- 
lower  part  or  base  of  every  (]uires  less  strength.  This  is 
single  ad  or  page  should  be  suf-  often  seen  in  the  form  of  title 
ficiently  emphasized  —  should  pa^es  and  last  pages  of  books 
B  have  sufficient  strength  com-  and  pamphlets  not  entirely 
ing  into  it  to  give  support  to  filled. 


e 


BORN  IN  MAN,  AS  MUCH  AS  APPETITE  FOR  FOOD  WAS 
EVER  BORN  IN  MAN,  IS  A  DESIRE  FOR  BEAUTIFUL  THINGS. 
AS  MUCH  AS  MAN  EVER  DESIRED  SLEEP  OR  AIR,  HE 
DESIRES  BEAUTY.  THE  YOUNG  CHILD,  THE  ADULT  CIV- 
ILIZED MAN  OR  WOMAN  REACHES  OUT  UNCONSCIOUSLY 
AFTER  THE  BEAUTIFUL,  AFTER  SOMETHING  WHICH 
PLEASES     THE     .ESTHETIC     SENSE     THROUGH     THE     EYE, 

i  THROUGH  THE  EAR,  OR  THROUGH  THE  NATURAL  SENSES. 

ART  POSSESSES  AN  ELEMENT  WHICH  SATISFIES  THIS 
DESIRE  FOR  BEAUTY.  WHENE\FR  THERE  IS  IN  MAN  A 
RESPONSE  TO  THE  BEAUTIFl  L,  THEN  IT  IS  THAT  ART  IS 
DOING   ITS   WORK— THAT   IS,   IT   IS   SATISFYING   THIS   DE- 

D  SIRE  FOR   BEAUTY    IN    MANS   NATURAL   MAKE-UP.      F.  A.  P. 


MCBi  laai  immi  ~inT 


5:^ 


EMPHASIS  AS 
APPLIED  IN 
ADVERTISING 
CONSTRUCTION 

C  II  A  r  T  E  R     FIVE 


/ 


EMPHASIS   AS    APPLIED    IN 
ADNKRTISIXG   CONSTRUCTION 


i 


s 

a 


C  11  A  V'V  K  R      V.     It    the 

hunian 
voice  is  carried  aloiii^  over  a 
consiiier-.ible  lenirrh  of  time   in 


lows  the  idea  of  i^yration  or  a 
[K'culiar,  erratic  pitch,  because 
we  dn  not  follow  the  thoui^ht-- 
the  luiiii.in  iniiul  can  follow  hut 


i 


i 


"1 


J 

1 
: 

1 

^^1^  GS^Si 

1 

1.  F.  M  P  II  A  S  I  S 
B  \'  POSITION 
IN  THE  CEST  PLACE.     TION  ON  THE  PAGE 


II.    E  M   P  II   A  S  I  S      in.  EMPHASIS  IV.    E  M   P  H  A  S  I  S 
IN     CAD     P  O  S  I-      RV    CH.XNGE    OF  RV      A      CONTRAST- 
SHAPE      FROM      OR-  INC,  SIZE  WELL  LO- 
LONG     TO     CIRCLE.  CATEP      ON      PAGE. 


one  tone,  without  change  of  in- 
rtection.  or  change  of  pitch,  the 
result  is  monotonous,  and  one 
finds  that  his  interest  is  gone, 
not  onlv  in  listening  to  the 
sound  of  the  voice,  but  to  what 
it  has  to  say  as  well. 

On  the  other  liand,  erratic  gyra- 
tions from  one  pitch  to  another, 
repeated  over  and  over,  are  also 
distracting,  monotonous  and 
uninteresting,  and  I  particular- 
ly want  you  to  see  the  analogy 
because  this  so  clearly  applies 
to  our  advertising.  It  is  dis- 
tracting when  the  attention  fol- 


one  thing  at  a  time.  Again,  this 
same  principle  is  illustrated  in 
music,  in  an  orchestra,  or  per- 
haps in  a  German  band  which 
sometimes  plays  for  a  long  time 
almost  exactly  evenly,  in  an  up 
and  down,  wavelike  motion.  It 
begins  to  get  on  vour  nerves. 
Then  the  trombone  belches 
forth,  and  that  is  a  relief.  ugl\- 
as  it  is;  but  the  continual  burst- 
ing forth  of  the  trombone  at 
regular  intervals,  wouKl  make 
another  monotonous  succession 
of  sounds,  and  that  wouhi  de- 
strov  the  appeal  of  the  music, 
were  there  any  appeal  there. 


■  ■ic: 


=iaa 


57 


Q  QSl  [ 


]  [03  l]Q[ 


T  fiffl  nm  r" 


DDBDC 


IDDa 


This  Is  true  of  sound  stimulus  to 
the  ear.  The  ear  is  one  of  the 
five  senses  through  which  man 

gets     impres- 

sions.  T  h  e 
principle  of  or- 
der w  h  i  c  h 
gives  rest  from 
monotony, 
which  makes 
variety  in  the 
tone  which  the 
ear  catches,  is 
called  empha- 
sis or  stress. 
Emphasis  or 
stress  then  is  es- 
sential for  in- 
terest, or  pleas- 
ure, or  profit, 
through  the 
ear,  and  its 
force  is  lost 
when  emphasis 
is  overdone,  or 


And  they  are  all  here/'/come  and 
try  em  on^-'we'll  take  our  chances 
y/'our  mirrors  are  triple  plate. 

Derbies  and  soft  hats  with  the 
new  pencU  roll,  Sl,98  to  $5,00, 

Gloves,  neckwear,  special  vests,  fancy  hose^ 
in  the  new  Spring  styles. 

THE  WHEN 

See  Our  27  Windows. 


and  convincing  the  beholder  of 
merit.  In  this  field  of  sight,  or 
of  appeal  to  the  eye,  this  princi- 
ple is  a  useful 
factor.  Let  me 
illustrate  this 
with  the  side 
wall  of  a  room. 
You  know  how 
often  you  enter 
a  room  and  the 
wall  seems 
pleasing  to  you, 
with  the  excep- 
tion of  one  spot 
on  it.  You  at 
once  look  at 
that  spot,  and 
you  find  there, 
perhaps,  a 
rather  good 
picture  with  an 
overdone,  over- 
o  r  n  am  en  ted, 
broad,     bright 


the      thing      is    emphasis    by 

,  .      ",      .  SPOTS      (HATS);     11. 

emphasized  m  ment  also  (s 
so  many  ways, 

or  so  monotonously  emphasized 
in  the  same  way  that  the  em- 
phasis becomes  useless — dies 
because  of  its  commonness. 

You  will  see  the  analogy  be- 
tween what  I  am  saying  as  ap- 
plied to  the  ear,  and  the  stimu- 
lus applied  to  the  eye,  which  is 
the  thing  that  the  advertising 
man  has  to  deal  with,  the  eye 
being  the  sense  appealed  to  in 
attracting  attention,  holding  it 


POSITION    OF    gilt  frame,  and 

LUSTRATIXG     MOVE-      "  '     ^, 

pRixG  STYLES).    YOU      Say      the 

frame  hits  you 
in  the  face,  or  jumps  off  the 
wall.  It  can  never  take  its 
place  as  a  part  of  the  unit  which 
the  wall  is  supposed  to  be.  The 
picture  itself  is  lost  and  all 
around  it  is  spoiled.  That  also 
happens  with  the  human  figure; 
you  often  notice  good  relation- 
ship in  the  clothing — with  one 
exception.  I  have  noticed 
voung  women  with  belt  buckles 
who  looked  pretty  well  until 
my  eye  reached  the  waist  line; 


B 


B 


58 


D  EH  IDC 


Dmo 


BB3C 

01 — 


DHBC 


name 


nna 


Q 


S 
s 


then  I  tlioui^lit 
tlic\  must  have 
made  a  mistake 
and  L^otten  liokl 
of  a  dinner 
platter  or  a 
piece  of  aiinor, 
or  some  pecul- 
iar thins^.  and 
useil  it  for  a 
buckle,  tluis  ile- 
stro\  inu;  t  h  e 
unity  of  tlie  Hi:^- 
ure  and  its  ef- 
fect. This  is 
because  it  liits 
too  stront^ly, 
emphasizes  too 
stroni^ly  t  h  e 
very  place  you 
don't  want  to 
emphasize.  If 
the  belt  buckle 
could  be  neare 


S-A^pVeRTICAlTuRRET  JATHE 


4:-lNCll   M.X.M-MILL"  TYPE 


ollarvd.  Ih*    J*nA«J»  ol  ttnimy  uiJ  ul  lb«  luiuft   Uh 


TabU  Sptid«  T>«t<a  cA*r>|««  raA<in<  fr«^  3  U  00  R  P  H 

V«nK>l  Mead  V«rt(e4l  m4««m«nt  «r  77  m^Ma    ■>ll  fa:*  44  .ncp«a 

Turr*!  ift  iivcrMt  in  a-w'iatar   9  tacaa  Ka<i"<  ?*■  wvc^  Miaa 

&<Ja  H««d  VanicaJ  '"«<a>n«<«|   af  .U  •r<ftn    rv»riuAtAJ  «n«*»<«t«ni  «(  f|   ntfi*^ 

Tap  »*  U»<a  ta  wdGarwda  of  S4«  Haad  Si-da  99  >/K»Ma 

Sl««l  Cf«naf  Ai.ar  ttaal   r>«al  tratUd  i*a/v  v>r»ufh*,t  i'-^ng  anj  Faad  Uk-n. 

Lubncatioo  C)'uU/>t  a><M-faa4  fl»«  u  an  pana 

SalcfT  DvviL'W  All  f«vt  aACMAd  GowAUf  ■  ■  t<<fiU  ancia^ad   »»«'k'.»r  a*fa  at  ^i  i.j*«k 

WeifttI  1*000  pa.nJi   nat      IS490  »»<'»la.  ar»p^n«  aa^l 

Flouf  Space  tS  >A:baa  a-da.  93«tchaa4aap    iQl'i  .ncTiaa  ^4^ 

CucuUf  WT-141 


4^B^^ 


The  Bullard  Machine  Tool  Co. 

BnJifrpon.   Coanccticul.    U.  S.   A 


HAD     USE    Ol'    EMPHASIS     I  X     I.Ot  A 
TIOX     OF     TRADEMARK,     KINDS     O  I- 
TYPE     IX      TITLE     AXD     SPECIIICATIOX 
HEADINGS    IX    LOWER    HALF    OF    PAGE. 


r  the  face,  and     carpets,  textile: 


the  face  was  a 
\ery  beautiful 
one,  it  would 
have  a  greater 
reason  for  be- 
in  i^  there  than 
at  the  waist, 
but,  e\cn  as  it 
is,  it  looks  bet- 
ter at  the  waist 
than  it  would 
tlown  near  the 
tcct.  ^'ou  ex- 
pect the  appeal 
for  attention  to 
be  near  the  face 
of  the  indi\-id- 
ual,  that  beini^ 
the  most  im- 
portant part. 

In  any  piiase  of 
desitz;n  -  ru,i2;s, 
,  interior  ileco- 


THE   ORIGINAL  WORCESTERSHIRE 

JOHN  DUNCAN'S  SONS.  AGENTS.  N.Y. 


CAR  CARD  SHOWING  OVER-EM PMASIZED  SIZE  AXD  P.AD  POSITION  OF  ILLUSTRATION. 


■  ■C 


Dmmzz 


DBBC 


DBB)( 


59 


BOI 


]  ^  Q  { 


TIM  gnr" 


3UDC 


]iiia 


e 


ration,  costuming  or  whatnot^  viduals  are  ruined,  so  far  as 
it  is  necessary  to  avoid  the  per-  artistic  or  interesting  effect  is 
fectly  monotonous  use  of  any  concerned,  by  over-ornamenta- 
one  thing,  a^id  it  is  necessary  to  tion,  and  carpets,  rugs  and  all 
emphasize  cer-  other  forms  of 

designs    are 


tarn  spots  in 
certain  ways  so 
that  the  eye 
goes  to  those 
places.  We  use 
that  method  in 
the  best  ar- 
ranged rooms, 
best  wall  cover- 
ings, textiles, 
and  rugs,  and 
in  a  very  deli- 
cate and  decent 
way  in  cos- 
tumes, by  in- 
troducing a  bit 
of  ribbon,  a 
small  jewel  in 
the  proper 
place,  a  bit  of 
brighter  color, 
a  feather  or  a 
flower  placed 
at   some    point 


VERTlCAirflJRRET  |aTHE 

42-INCH   "MAXI-MILL"  TYPE 

Having  ODC  Swivrl  Turrcl  Hod  Bud  one  Noo-twivcliog  Stde  Toirci  HcmL 


ammKlti    (H   <o<lar    tod  «(   the   iMvrm  lor    Eltrrair  Powet, 

Crcai  Rigidity,  Cootmued  Accuracy,  O^ovcoJcsc* 
of  OpmlioQ,  Ab»oIutie  Salety  of  Opcntor,  Freedom 
CrocD  BrakKge,  Ukd  Minimutn  Cost  of  Maiinen«oc«. 


Capaciry 

44  lnc^B•l^  di«m«Ur.  Zi  in<t>M  in  hticM 
«nd«r  Cr(M*-ik)l.   42  inchM  wndar  Tunct 

Table 

40"-!  inches  in'diV^Ur. 

Table  Specda 

Twciva    changes   tuigtng   from   S  u   60 
R  P  M 

Feed  Ctungcs 

G   [«tit.ive   »na   indepandant  .ctiVigtt    for 
««£h  rie*d 

Venlcal  Had 

VcnjCAl  mosmcnt  of  27  InOM*.   will  fac« 

44  .r,che». 


1  dtwnaur  6  ltct%  h*<i1n(  3^ 


SPECIFICATIONS 

Side  Head 


VerljcAJ  mo^Tunt  of  56  InchM.  hor1i«n- 
t*l  mo»*mefH  of  31  ■^c^«l.  Top  of  tabli 
to  underiitla  of  Std*  HMd  SIM*  SS  Inehti. 

Stcd  Gearittf 

Alloy  sWal.  hekt  tr«kt«d.  ca*/i  Uvougtioui 
driTinf  krMl  t««d  UU[^ 

LubricatioB 

Conttknt,  •igrrt'f*B4,  Qow  to  all  part& 

Safety  Dcricea 

A  '.  gtv%  •naftj«d.Countcr-<>eifM««QClo»> 
vd   oparuor  ufe  *l  Jl  limva 

Weight 

leOOC  pcuridi,  n«L  1B450  pounda.  abip- 
(jirtf  iratCtit 

Floor  space 

es    inchet   •ma.   9lf   iDCbaa  daap,    ISIH 

inch**  htctv 


The  BuUard  Machine  Tool  Co.,  Bridir.i>o»i.cono..D.s.A. 


Now,  we,  as  ad- 
vertising men, 
are  appealing 
to  the  intelli- 
gence of  the 
people  rather 
than  their  fan- 
cy, even  more 
than  are  the  in- 
terior decora- 
tors. We  bid 
for  the  best 
thought  of  the 
public,  the  best 

?A^IE     TEXT     REARRAXGED.     OX     PAGE      p rOCCSSCS  of  thc 

5  0.     WELL     SPACED.     WELL     B  A  L-  j      J 

AXCED,      WELL     EMPHASIZED      AND      '^'""^i         'i^         nv> 

STRUCTURALLY   WELL   BUILT.    Other     applied 

Art  bids.  The 
w'here  the  eye  should  go.  advertising  man  asks  for  intelli- 
gent attention,  interest,  consid- 
Do  you  see  then  that  in  any  of  eration  and  decision.  These 
these  designs  it  is  possible  to  four  processes  of  the  mind  must 
carry  the  law  too  far  and  over-  be  employed  before  the  adver- 
emphasize  a  spot  so  that  there  tisement  has  produced  the  de- 
is  nothing  else  in  the  design?  sired  effect.  We  must  first  see 
Interior     decoration     can     be     it.    We  must  next  become  inter- 


spoiled  by  that 
more      often 


than     by 
omissions. 


anv 


ruined  by  over-decoration,  by 
accumulation,  by  ornamenta- 
tion instead  of  decoration.  Peo- 
ple's clothes  and  people  as  indi- 


ested  in  it.  We  must  next  con- 
sider it.  Then  we  must  decide 
for  or  against  its  appeal.  There 
are  four  distinct  mind  processes. 


e 


e 


IDC 


DDdC 


DBS 


It  is  not  necessary   in   interior     emphatic,  or  stress,  iiiea  under- 
decoration  that  vou  shouhl  do     standingly    and    effectively,    or 
all  that,   it  is  not  necessary   in     things  will  become  a  disorgan- 
dothing,  unless  you  are  selling     i^^cd  jumble.     When   they   are 
or     b  u  y  i  n  g 
clothing,    it    is 
not      necessary 
in  carpet,   rug, 
textile  or  other 
design  that  all 
of    these    proc- 
esses should  be 
so    clearly    de- 
fined.     There- 
fore,  I   believe 
aiivertising,    as 
an  applied  Art, 
bids  to  a  great- 
er intelligence, 
or    broader 
form  of  intelli- 
gence, than  any 
of     the     other   i-ah  EMPH.^SIS  p.y  ornamf.nt,  irrel- 

,.       ,  EVANT     IX    TIIOIT.IIT.     BAP     IX     SlIAPE. 

applied       arts,    i-xrkt,ated  to  border  ix  kind,    bad 
and      for     that   rosiTiox   of  title:  too  near  top. 

reason    I    want 


that,   there  can 
l)c     III)     appeal 
in     the     adver- 
tisement  along 
the  four  essen- 
tial  lines  men- 
tioned.        Psv- 
ehologicallv    it 
will  be  impos- 
sible for  a  mass 
of  matter  unre- 
lated   and    dis- 
organized      to 
move  the  aver- 
a  g  e        intelli- 
gence  in    those 
four     lines     of 
mental  process. 


Any  process  or 
any  law  which 
helps  to  organ- 
to  bring  every  principle  in  ar-  ize  matter  and  to  present  it  in 
rangement  known  to  the  world  such  a  way  to  the  public  that  it 
of  applied  art  to  bear  on  this  meets  the  essentials  of  mind  ac- 
most  important  thing.  I  intro-  tivity  is  a  law  or  process  that  is 
duce  the  principle  of  emphasis  going  to  be  helpful  in  the  ad- 
because  it  is  one  of  the  most  im-  \ertising  field  when  it  is  under- 
portant  things  in  the  cultiva-  stood.  Good  advertising,  then, 
tion  of  a  taste  standard  and  is  must  reckon  with  the  matter  of 
therefore  active  in  decent,  in-  emphasis,  ^^'e  are  wasting  en- 
telligent  advertising.  ergy,  because  we  kill  with  too 

Now,  as  to  advertising  pure  much  emphasis  more  (]uickly 
and  simple:  Sincewemust  have  and  more  definitelv  than  with 
in  every  advertisement  these  too  little.  A  greatlv  disorgan- 
four  pr()ccsses  of  mind  in  order  ized,  overdone  and  over-bur- 
to  be  eflfective.  wc  must  use  this     densome  mass  is  more  hopeless 


E 


Dec 


lODIZC 


3nBC 


name 


6i 


Qcn)  [ 


]  QQ]  ( 


I  aunt 


T  nrii  tmi  r" 


Dionc 


3DQI 


than  a  very  monotonous  little  of     phasis  is  really  necessary  to  call 
anything.     Nothing  can  be  so     out  a  thing  and  make  it  stand 


o  V  e  r- 
vvhelm- 
i  n  gly 
bad  as 
too 
much 
of  any- 
t  h  i  ng 
that  is 
u  s  e  - 
less. 

The 
ways  in 
whi  c  h 
empha- 
sis is 
secured 
o  u  g  ht 
to  be 
clearly 
n  o  ted, 
and 
then 
we  will 
see 
how 


run    RVBiviiNo    mail- 


m  rOHK  VUUMAID  iTOU  \        .^  ^ 


■  VMiUUXIt  ITOU 


The  John   Wanamaker  Store— -The  Store  With  Personality 


^v.:.v;ar:i^L•. 

Anr>th<-f  WindfiH  in  Womeo^  SuiW 


Coatt  Not  Merely  for  Warrorh 


.  OiQ*  SPl  #Dd  F(>uUrd  niuti.S3.75io$S 


J  »m>  >•  :MfOfjA.1T 


Table  Linens  and  Towels 
at  Quick-disposal  Prices 


MlOrwC'/-^  D..'  ••»*•..    I»\.  IM 


li»      tmii  ti  nun  I  I  ■!■  Tilwiii  raW|M. 


DmIu.  Small  Tabica  and  Othrf 
NccMaary  Furniture  (or  Sumtncf 


Fine  Domtatic  RUGS 

At   WhoimMoU  /VicM 


:^-T-'"-i*-!'i2 


"Eierrhndr"  I>  Gomf  Abroad— Ar»  Vou' 


Any  Player-Piano  Can  Reel  Off  TUNES 
^  The  EMERSON -ANGELUS.  the 
Wonderfully  -Toned  Emersoo  Piano, 
United  with  the  Matchless  Angetus 
Player,  RENDERS  MUSIC. 


The  EMERSON-ANCELUS.  $750  sod  $800 
Emerson-Aniieiu)  Graods.        -  $1350 


Ordtr  Ai'amei  No" 


^jTj^rrr: 


\.  X.  m»— -  *  c* 


JOHN     WANAMAKER 


apart. 
Then 
we  will 
also 
see  that 
e  m  - 
pliasis, 
seven 
times 
out  of 
eight, 
e  m  - 
p  h  a  - 
sizes 
t  h  e 
w^rong 
thing, 
and 
also 
that  we 
\\'  a  s  t  e 
our  ink 
by  us- 
i  n  g 
large 
t  \'  p  e 
a    n    d 


m  a  n  V  full     newspaper     page     showing     well     balanced  other 

f  j  fv^  PQ    MASSES,     WELL      SELECTED      SIZES,     GOOD      GENERAL     MOVE-     f-hinas 
"■  ^  "^  ^^    MEXT      EMPHASIS      RV      CIRCULAR      SHAPE;      WELL      PLACED     *• "  '  "  ft  ^ 

we   are  and   sustained   axd   with    page   structurally 
empha- 
sizing   the    same    thing    when 


once  would  do ;  how  many 
times  we  are  playing  a  thing  up 
when  once  would  have  made 
it  sufficiently  important,  and 
perhaps  too  important,  to  be  re- 
lated to  the  rest  of  the  adver- 
tisement;  and   how   little   em- 


good.  that 
really 
should  be  used  only  as  emer- 
gency material.  The  oversized, 
full  intensity,  colored  page 
borders,  by  the  way,  illustrate 
this  kind  of  waste. 

To  begin  with,  emphasis  is  ob- 
tained by  position.    Determine 


JQDC 


=1  on  one 


DniDDC 


Dnmc 


DBS 


62 


Dcna 


wliat  yi)u  consider  the  most  im- 
puriaiu  part  of  a  page,  the  most 
conspicuous  place  on  a  cover  or 
anything  you  are  going  to  use 
as  a  single  advertisement.    1  lie 
very  fact  that  ynu  place  some- 
thing at  that  point  calls  puhlic 
attention  to  it.     In  the  method 
of  placing    al(,)ne,  there    is  an 
emphasis  gained  by  the  position 
a  thing  receives.   This  is  worth 
while  noting.   'Ihere  is  also  an- 
other phase  of  position,  namely, 
the  position  of  the  thing  dealt 
w  ith  as  compared  to  other  mat- 
ter on  the  page.    This  adjacent 
matter,  by  its  kind,  color,  move- 
ment or  shape,  may  direct  the 
eve   to    that   which    is   near    it 
rather  than  attract  it  to  itself. 

Thus  there  are  two  phases  of 
emphasis  by  position:  the  posi- 
tion of  any  object  in  the  adver- 
tisement has  an  emphasis,  and 
its  position  in  relation  with 
surrounding  or  adjacent  things 
also  has  a  possible  emphasis. 

The  second  wayinwhichthings 
mav  beemphasized  isbychang- 
ing  their  shape.  \\'hen  an  ob- 
ject is  erratic  in  sliape  it  ought 
to  be  kept  pretty  nearly  the 
same  color  as  its  surroundings, 
and  related  in  size  to  other 
things  \\ith  which  it  is  associ- 
ated. It  doesnotneedtohave  the 
most  prominent  place  on  the 
page,  and  should  not  ha\'e  anv 
of  the  other  forms  of  emphasis 
unless  vou  want  a  remarkable 


stress  upon  it.     It    would    not 
happen    once     in     a    thousantl 
times  that  nou  would  want  an 
erratic  shape,  a  prominent  po- 
sition and  a  strong  color  for  the 
same  thing.     If  \ou  have  only 
one    thing   to   say,    you   would 
better  say  it  distinctly  in  words 
callinii   attention   to   it   h\    one 
emphasis  form.     \'ou  w  ill  tlicii 
have  said   it    strongly    enough 
\\ithout     employing     emphasis 
in  all   forms,  and  thus  destroy- 
ing the  possibility  of  emphasiz- 
ing anvthing  else   in   the  same 
advertisement.    The   next  way 
in  which  emphasis  may  be  se- 
cured is  by  the  size  of  a  mass  - 
a  line  of  type  for  example  -as 
strongly  contrasted  with  other 
sizes.     The  size  of  the  title  in 
some  street-car    advertisements 
is  ludicrous.    The  name  of  the 
thing  advertised  could  be  made 
out  at  almost  any  distance  by 
the  color  that    is  used,  and    a 
good  many  times  it  is  empha- 
sized bv  the  ornament  repeat- 
ing the  title,  anci  in  other  ways, 
so  that  it    is  not    necessary  to 
get    such    relativelv    enormous 
changes  in  size.    1  f  the  shape  ot 
a  thing  is  different  or  the  posi- 
tion prominent,  then  it  does  not 
have  to  be  the  size  of  my  head 
as  compared  to  my  finger  nail 
to   arrest   attention.      Less   em- 
piiasis    ami    more    interest     is 
uliat  w  c  need. 

■{"he  next  general  phase  ol  em- 


U 

e 


B 

e 


I 
I 


HQDC 


imoDC 


3amc 


DBBC 


_Ji 

3IDP 

63 


BOD  I 


JB  Q  [ 


I  ana 


phasis  is  color.  Take  borders, 
for  instance.  The  border  should 
not  be  used  to  call  attention 
by  its  col(jr  contrast,  unless 
it  is  composed  of  pictures  of  the 
article  advertised.  If  I  were 
talking  about  acorns  as  food,  I 
might  have  a  border  of  highly 
conventional  acorns,  in  a  not  too 
strikingly  contrasting  color.  Do 
not  use  a  strong  color  scheme 
on  a  band  border.  The  border 
is  not  the  thing  you  want  to  sell 
the  public.  Use  contrasting 
color  on  the  object  you  want  to 
bring  out  strongest;  that  is 
never  the  border.  The  border 
should  harmonize  with  the  type 
or  the  page  itself  in  color. 
Generally  it  is  more  effective 
when  it  harmonizes  with  the 
page  itself — the  stock — but 
when  possible,  harmonize  it 
with  type  matter  also.  These  er- 
ratic, color-emphasized  borders 
that  do  not  in  any  way  tie  up 
with  or  come  into  the  color  of 
the  paper  will  almost  always  be 
bad  because  they  take  you  away 
from  what  you  should  see.  just 
as  a  very  much  over-ornament- 
ed and  very  bright  picture 
frame  takes  you  away  from  the 
picture.  Even  a  mirror  frame 
takes  all  the  attention  away 
from  the  mirror  when  it  is  over- 
ornamented. 

The  next  method  of  securing 
emphasis     is    by    illustration; 


making  a  thing  stand  out  by  il- 
lustrating it  pictorially. 

We  have  now  considered  em- 
phasis by  position,  by  erartic 
shape,  by  difference  of  sizes,  bv 
color  and  by  illustration,  each 
of  which  takes  the  mind  from 
the  other  things  in  the  adver- 
tisement and  fixes  it  on  some 
particular  thing.  If  all  forms  of 
emphasis  are  used  on  one  thing 
of  importance,  you  see  there 
are  none  left  to  use  on  the  sec- 
ond, third  or  fourth  points  vou 
wish  to  lay  stress  on.  Therefore, 
eliminate,  just  as  far  as  possi- 
ble, the  number  of  emphatic 
things  you  do,  and  try  to  find 
out  the  reason  whv  a  thin^ 
jumps  at  you — hits  you  in  the 
face — is  too'  strong.  Analyze  a 
bit,  and  see  in  how  many  ways 
you  are  helping  this  along. 

A  word  as  to  outdoor  advertis- 
ing. That  is  a  matter  quite  dif- 
ferent from  the  advertising 
which  comes  into  our  houses, 
particularlv  in  matters  of  color. 
This  is  because  of  the  wealth  of 
color  in  the  environment  in  the 
summer  and  in  certain  locali- 
ties, while  in  the  winter  and  in 
other  parts  of  the  country  there 
is  almost  none. 

In  advertising  at  different  sea- 
sons of  the  vear  T  should  use 
different  colors.  The  more 
vivid  color  there  is  in  the  sur- 


§ 


64 


^■■c 


=IBBI= 


■ 
lij 


lyni  ipgmr  laimr- 


roundinf^?,  the  more  the  adver-  Massachusetts,  in  order  to  se- 
tiseinent  shouKi  be  subdued  in  cure  this  enipliasis  of  contrast, 
order  to  j^et  contrast,  and  the  wliicli  is  so  essential, 
less  color  there  is  in  the  land- 
scape the  more  there  should  be  Bear  in  mind  that  a  failure 
in  the  advertisement.  I  should  to  consider  these  things  results 
use  \crv  different  advertisini^  in  intemperance  of  contrast, 
colors  in  the  South  than  I  which  is  as  bad  as  the  overuse 
would  in  New  Eui^jland,  for  ex-  of  any  material  with  which  you 
ample,  and  in  Alaska  than  in  work. 


I  UNDERSTAND  EDL'CATION  TO  MEAN  THE  ADJUSTING 
OF  A  PERSON  TO  THE  CIRCUMSTANCES  IN  WHICH  HE 
LIVES.  A  MAN  BORN  IN  ABRAHAM  LINCOLN'S  TIME,  OR 
NEAR  THAT  TIME,  FACED  CERTAIN  PROBLEMS  DIF- 
FERENT FRO.M  THOSE  WHICH  YOU  ARE  FACING  TO- 
DAY. IF  HE  HAD  HAPPENED  TO  HAVE  BEEN  BORN 
IN  THE  TIME  OF  LOUIS  XIV,  THE  PROBLEM  WOULD 
HAVE  BEEN  STILL  DIFFERENT,  PARTICULARLY  IF  HE 
HAD  LIVED  AT  VERSAILLES.  TO  TRAIN  A  CHILD  AS 
HE  WOULD  HAVE  BEEN  TRAINED  AT  VERSAILLES 
IS  MISSING  THE  POINT,  ISN'T  IT?  TO  TRAIN  .\ 
CHILD  IN  JUST  THE  WAY  HE  WOULD  HAVE  BEEN 
TRAINED  IN  ABRAHAM  LINCOLN'S  TIME  IS  MISSING 
THE    Pe)INT,    ISN'T    IT?       CONDITIONS    CHANGE.       F.    A.    P. 


DBODC: 


THE  USK  AND  ABUSE 
OF  Dl':CORA  riON 
AND    ORNAxMENT 

C    IT     A    r    T    E    R  SI     X 


THE     USE    AND    ABUSE    OF 
DECORATION  AND   ORNAMENT 


CHAPTKR  \'I. 


There  are 
==^=^^^^ —      two  kinds 
of    stimuli     to     the     sense    of 
sight,  so  far  as  attention  is  con- 
cerned.    The 
first    kind     in- 
eludes     the 
things   that  at- 
tract    attention 
mechanically 
but    fail    to 
arouse  any  spe- 
cial interest  in 
the  observer. 
Such  things  as 
startling    color 
combinations 
and    one    com- 
p  1  e  m  e  n  tary 
color  displayed 
on  its  opposite 
belong    to    this 
class,     as     also 
does  a  mechan- 
ical   contriv- 
ance for  shock- 
ing vour  nerv- 


the  moving  advertisements  in 
our  streets.  They  mechanically 
call  attention,  but  there  is  no  in- 
terest in  them  as  objects  or  in 

their  relation 
to  any  thing 
else  of  an  inter- 
esting nature. 


Much    of    our 
illustrative  and 
decorative  mat- 
ter   is    of    the 
same  character. 
Some     of     the 
decorati\e 
units,     o  r- 
namcnts,     bor- 
ders and  illus- 
trations   that 
arc    used    have 
no  value  so  far 
as     interesting 
people   is   con- 
cerned, and  are 


I  L  I  I-  S  T  R  .^  T  I  V  F.  M  .A  T  T  F.  R  I  R- 
R  F.  T.  F.  V  .\  N  T.  C  O  M  P  L  F.  X.  IN- 
ARTISTIC   .\ND    BADLY   .\RR.\NGED.     merely    USCQ    tO 

fill  up  Space  or 
make    the    advertisement    look 


n 


ous  «;v^tcm  so  that  vou  will  turn 

and  look,  but  which  lacks  any     "pretty 

rlcment  of  interest  because  of  . 

:'s  harshness,  crudencss  .nd  Inck     The  second  k,ndoa„cm,on 


of  human  appeal.  Some  mo- 
tions that  are  used  in  advertis- 
ing are  merely  mechanical  at- 
tention-arresters. There  are  a 
good  many  examples  of  this  in 


stimulus  is  that  which  makes  a 
direct  appeal  to  some  human 
instinct.  Because  of  this  innate, 
instinctive  response  the  object 
to  which  attention  is  called  is 


§ 
e 


BDDC 


inniBc 


3^  QD( 


name 


interesting.  In 
in  general  or  in 
in  particular, 
til  ere  is  some- 
thing that  re- 
sponds to  the 
appeal.  Let  me 
call  attention 
to  the  fact  that 
advertising  is 
making  many 
mistakes  right 
there.  The  dif- 
ference  be- 
tween  a  thing 
that  really  in- 
terests people 
and  that  which 
ornaments  or 
decor  ates  I 
think  is  very 
great.       If      I 


human  natu're     make  you  see  that  difference,  I 
some  observers     shall  succeed  in  the  next  point 

I  want  to  bring 
to  you. 


Our  weakest 
points  in  this 
regard  are 
found  in  what 
you  term  "il- 
1  u  s  t  r  a  t  i  V  e 
stuff,"  and 
"d  e  c  o  r  a  ti  ve 
stufY."  I  un- 
derstand "illus- 
trative stuff"  to 
mean  those 
things  which 
you  think  illus- 
trate the  point 
you  are  trying 
to  bring  to  peo- 


ILLUSTRATIVE  MATTER  WELL  CHOSEX. 
WELL  PLACED,  WELL  HANDLED.  .IN 
COLOR  RELEVANT.  EFFECTIVE,  AR- 
TISTIC   AND    SENSIBLY     PLANNED. 


§ 

■ 


1 

B 


.-    .jjj.frijuuiiiwpa 


Snap,  sparkle,  vigor! 

Drink 


Deli  cious-Whoiesome -Thirst-quenching 

S'^everywhere 


A    STREET    CAR    CARD    WITH    "PRETTY"    I  L  L  U  S  T  R  A  T  I  \^  E    MATTER 
BADLY     HANDLED      AND      INCONSISTENTLY      FINISHED.' 


BDDC 
Bl — 


DODI 


Q 


WfUh  Rtrebit 

I    irKpObaS;!  el  hjttrr 
,1  ir«ipM«.'a:  uf  EMfluk  nuiftatd 
I  ist'kvfwMiSJ  at  VtettTtttitkm  MacC 
A  frw  tfrof<«  of  Tob«xo  uwn 
TW  jcIX  of  0*«  *(f       S  l''**  e^aW 

Turn  the  current  on  to  full  hfit  in  the 
clectnc  chafing  diih.  Have  the  water 
hoiling  in  the  lower  ptn,  then  put  the 
butter  in  the  bUrcr,  and  when  melted 
add  the  chcoe  and  stir  until  the  cheese 
begins  to  melt.  Add  the  mustard, 
Tobasco  ind  Worcestershire  sauces, 
and  stir  in  the  ale.  Keep  on  stirring 
until  the  mixture  is  perfectly  smooth, 
and  then  add  the  yolk  of  the  egg,  well 
beaten.  Ser%'C  on  nicety  brownea  slices 
of  to&sr,  or  on  toasted  cracker*.. 

Co«i  of  nirrrm  b  I  '-^  ctmn 

itr  aukir.|  a  rwcba  of*  thu  mc  _ 


pie.     An  illustrative  feature  is     than  valueless,  for  they  distract. 

Let  me  illustrate 
that.  1  f  I  am  ad- 
\ertisint;  haking 
powder,  and  use 
the  words  "Baking 
Powder"  with  an 
illustration  of  a 
can  containing  it, 
or  of  bread  or  cake 
which  was  raised 
with  it,  or  a  slice 
of  bread  which 
shows  the  quality 
my  baking  powder 
will  give  it,  I  am 
using  relevant  il- 
lustrative matter. 
But  illustrative 
matter  which  does 
not    relate    in    anv 


one  which  speaks 
the  thought  you 
wish  to  convey  in 
some  pictorial 
way,  so  that  what 
vou  sav  in  words  is 
said  pictorially  al- 
so. If  vou  can  say 
in  words  what  you 
also  sav  in  picture, 
you  illustrate  one 
psvchological  law 
of  attention  and  of 
interest  by  repeat- 
ing your  i  d  e  a 
in  two  ways. 
Xow,  that  which 
is  brought  to  any- 
bodv  once  may  be 
incomplete,   unless    ii.ia'str.^tions     well 

BORDERS. 


SI'S- 
A.\D 


the  person  catches    talved    by 

\  ,  .     ,         well      REL.\TED      IX       IMPOR 


sense  to  the 
the  thought  quick-  t.\nce  'to^'type  '  matter,  thought  I  want 
1  y.       But      the  most  to  express  is 

thought  repeated  in  some  other     not  an  interest-promoter,  so  far 

way     is   as      the 

likciv  to 
make  an- 
other and 
a  deeper 
impres- 
sion. 

Tllustra- 
t  i  o  n  5 
w  h  i  c  h 
a  m  use 
but  do 
not  hit 
the  point 


thing  T 
am  trv- 
ing  to  sell 
is  con- 
ce  r  ned, 
and  three- 
fourths  of 
the  ad- 
ve  rtising 
we  see 
has  pic- 
torial or 
orna- 
mental 
of  the  advertisement  are  worse     features  which  in  no  way  illus- 


mwEi  cminc/ii[ 

POBLIC  SCHOOL  30  MMM 

ISSUED  TO 

FOR  PERFECT  ATTENDANCE 

DURING  THE  TERM  ENDING 

LSL 


W  1.  L  I.-C  1 1  I '  .<  i:  .\  1  L  L  C  S  T  k  A  r  I  o  X  S.  WELL  II  A  X- 
DEED.  WELL  PLArED.  WELL  SPACED  AXD  RE- 
L  A  T  I  X  G    TO    THE    SUBJECT     PROPOSED. 


BCBC 


DDBC 


DBIBC 


DBBC 


DBO 


I  nor 


DBiBC 


DDDDC 


niSQBC 


DBBC 


3  ana 


trate  the  subject  of 
the  advertisement. 
I  counted  on  one 
side  of  a  street  car 
to-night  seven 
cards,  in  not  one  of 
which  the  illus- 
trative matter  re- 
ferred directly  to 
what  was  said  in 
words,  or,  in  my 
opinion,  added  in 
the  least  to  the  val- 
ue of  the  advertise- 
ments. Catering 
continually  to  this 
picture  book,  kin- 
dergarten age  is 
giving  the  public 
less  credit  for  sense 
than  is  its  due. 


What 

New  York  State 

Thinks 


Of  The 

Applied  Arts  Drawing  Books 


Decorative  matter 
much  greatei 
problem    than    il- 


,  TWO     TYPES     OF     DECORATIVE 

IS  a  mucn   greater  matter,  bad  in  combixation. 

UNRELATED     IN    MOTIVE,    BAD 
i       ^         ■  rA  I^'    AMOUNT.      CENTERPIECE  ., 

lustration.  Decora-   too  large,  too  heavy  and    textiles,   rugs,  cos 

TOO    LOW     IX    placement. 


ii  leaved  clovers  or 
|j  gothic  windows  or 
'•  medallions  cop- 
ied from  a  French 
period,  or  any- 
thing else  that 
happens  to  turn 
up — generally,  the 
more  inappropri- 
ate the  better.  All 
that  stufTf  in  the 
vernacular  is 
termed  "decora- 
tive material." 


T  want  at  this 
point  to  call  atten- 
tion to  the  difYer- 
ence  between  deco- 
rative material 
and  ornamental 
material.  There  is 
a  clear  line  drawn 
in  interior  decora- 
tion,    in     carpets, 


■  • 

i: 


tive  matter  means 
bo  r  d  e  rs, 
ornaments 
thrown  in 
for  the 
sake  of 
space  fill- 
ing; bits 
of  trash 
where,  if 
the  line  is 
not  filled, 
we  put  in 
some 
three- 


tumes. 


stage 


COLUMBIA  AND 

HARTFORD  BICYCLES 

POPE  MANUFACTURING  CO. 

H.ARTKORD,   CONN  F,CT  1  CI  T,    U.   S.   .A. 


A  BADLY  MIXED  AND  I  N  .\  P  P  R  0  P  R  I  A  T  E 
HISTORIC  HEADPIECE,  DISTRACTING  IX 
APPEARANCE,    ASSOCIATION     AND     SUBJECT. 


set- 
tings and 
other 
phases  of 
design  be- 
tween the 
term  deco- 
ration and 
the  term 
ornamen- 
t  a  t  i  o  n. 
^^l^en  we 
all  see 
that  dif- 
ference    I 


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a 


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believe  it  will  help  us  a  little  bit 
to  agree  on  the  common  sense  of 
this  tliin*^.  Decoration  is  the 
application  of  ornament  where 
required  for  the  purposes  of  use 
anil  beauty.  Tliat  is  the  stand- 
ard idea  of  decoration.  Classic 
mould inii^s  followini;  the  eds^e 
or  line  of  structure  in  a  mantel- 
piece decorate  it.  Hunches  of 
tiowers,  fruit  or  acantlius  leaves 
stuck  in  the  centre  of  the  frieze 
and  not  beloni^inir  to  its  ed^e, 
ornament  it. 

If  a  chair  back  is  nearly 
straight  across  the  top,  any- 
thing put  on  it.  such  as  lovers' 
knots,  bits  of  ribbon,  or  bunches 
of  fruit,  is  ornament.  You 
have  seen  chairs  that  would  be 
much  better  looking  if  you 
could  take  a  hammer  and  knock 
all  that  stuff  off.  Such  things 
exist  alone  for  show.  We  are 
living  in  this  country  and  now; 
not  in  the  period  of  Louis  XV, 
in  France.  They  did  things 
like  that  in  that  period;  they 
did  some  other  things  then  that 
vou  don't  recognize  now  as 
good  form  or  practical  ethics. 
We  have  simplv  to  follow  the 
dictates  of  good  taste  and  not 
the  man  who  calls  himself  a 
classic  copyist  and  who  thinks 
he  can't  break  with  a  tradition 
because  things  were  done  that 
wav  in  the  davs  of  Joan  of  Arc 
and,  tlierefore,  must  not  be 
changed.    It  is  a  matter  of  mak- 


ing these  distinctions  clear  and 
eliminating  tlie  unnecessary 
frills  of  a  period,  if  you  are  go- 
ing to  use  the  period.  Elimi- 
nating the  ornament  from  the 
back  of  the  chair  is  the  idea  in 
this  country  now;  all  persons  of 
good  taste  recognize  that,  and 
people  who  are  having  furni- 
ture made  in  distinct  copy 
are  omitting  those  ornamental 
parts  whicli  bear  no  rela- 
tion to  the  structure  of  the 
thing  itself.  This  is  a  sign  of 
an   improved  taste  standard. 

In  advertising  we  shall  get  just 
such  a  standard  of  good  taste 
when  you  get  the  right  point  of 
view  as  to  the  difference  beween 
the  two  things  I  have  spoken  of. 
Decoration  is  the  application  of 
ornament  for  the  purposes  of 
use  and  beauty,  and  not  merely 
for  the  purpose  of  filling  up 
space,  or  of  showing  off  the  or- 
nament. In  all  the  arts  except 
advertising  decoration  is  the 
employment  of  ornament  for 
utility.  In  advertising  it  is  the 
use  of  ornament  for  the  sake  of 
ornament  or  because  you  don't 
know  what  to  do  next.  I  find 
that  when  I  ask  the  reason  for 
the  use  of  varimis  ornamental 
stuff  the  answer  is,  ''That  is  the 
way  to  do  it."  or.  "We  took 
those  things  out  of  a  good 
book."  Now,  if  we  can  agree 
that  advertising  must  conform 
in  its  laws  of  general  arrange- 


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ment  and  order  to  other  phases 
of  life-expression,  you  must  ad- 
mit that  ornamentation  and 
decoration  in  advertising  must 
conform  to  the  same  rules 
which  apply  in  all  other  lines 
of  work.  Whenever  the  orna- 
mental matter  follows  the  struc- 
ture of  the  page,  or  follows  the 
lines  of  the  set-up,  or  the  shapes 
which  have  been  created  in  the 
set-up,  then  it  mav  be  classed  as 
decorative.  Whenever  the  or- 
namental matter  does  not  fol- 
low the  structure  of  the  entire 
page,  or  the  masses  or  general 
arrangement  of  the  text,  it  is 
simply  thrown  at  the  advertise- 
ment, or  stuck  on  it,  because  it 
is  added  for  show,  or  to  fill 
space,  or  still  worse,  to  make  it 
seem  "pretty." 

Again,  there  is  still  another 
classification  of  this  illustrative 
or  decorative  matter  of  which  I 
speak.  Tt  is  important  that  we 
realize  that  between  historic  or- 
namental matter  and  what  is 
termed  original  ornamental 
matter  there  is  a  vast  difiference 
in  meaning  and  use. 

If  you  copy  historic  ornament 
you  are  going  against  the  spirit 
of  good  advertising,  unless  you 
are  advertising  historic  mate- 
rial. You  insist  that  every  ad- 
vertisement shall  be  unique, 
new,  creative,  a  step  ahead  of 
the  last;  that  there  shall  be  no 


copying  of  illustrations  or 
make-up — yet  you  still  adhere 
to  the  old,  historic  ornaments  to 
decorate  a  new  thing.  It  is  not 
in  the  line  of  progress  or  in  ac- 
cord with  the  other  things  that 
you  do.  To  copy  historic  orna- 
ment is  as  much  out  of  place  as 
to  copy  historic  clothes,  the  his- 
toric way  of  eating,  the  historic 
way  of  walking,  or  to  use  any 
other  ancient  and  obsolete 
method  or  material. 

This  matter  of  discouraging  the 
traditional  copying  of  historic 
stufif  I  am  most  anxious  to  get 
at.  Let  us  consider  historic  or- 
nament by  itself.  You  use 
mainly  Renaissance  and  Gothic 
motifs.  The  Renaissance  is  a 
revival  of  what  the  Romans  and 
the  Greeks  did  from  about  500 
or  600  B.  C.  to  300  A.  D.  At 
about  1200  A.  D.  people  re- 
vived— after  a  thousand  years 
of  disuse — what  the  Romans 
used  as  ornament,  and  added 
their  personal,  natural  motifs  to 
it.  This  was  about  the  same 
time  they  revived  the  language 
of  the  Romans  and  the  Roman 
plays  and  other  things  that  ex- 
pressed the  lives  of  the  Romans 
immediately  after  the  dawn  of 
the  Christian  era,  so  that  the 
bits  of  ornament  that  are  placed 
about,  such  as  the  acanthus  in 
its  modifications,  the  Roman 
scroll  in  its  ten  thousand  ways, 
the  egg  and  dart  and  the  many 


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Others  that  I  could  mention,  are 
simply  tile  expression  of  the 
B.  C.  period  or  immediately 
afterward,  taken  up  and  made 
to  express  modern  conditions.  1 
say  there  is  no  more  reason  why 
they  should  be  put  down  on  pa- 
per now  than  there  is  that  you 
should  copy  any  other  phase  of 
expression  of  the  H.  C  era. 

Blind  worsiiip  of  tiie  classic  or 
fear  to  create  is  the  reason  for 
this  condition.  \Miy  should  you 
stand  for  that  indiscriminate 
copy  simplv  because  tradition 
has  brout^ht  down  ornament 
with  a  kind  of  mystic  haze 
surrounding  it? 

In  addition  to  the  Renais- 
sance heritage  we  have  the 
French  rococo  motifs,  and  they 
are  the  most  amusing  to  me  of 
all.  Every  known  tiling  is  ad- 
vertised by  French  Renaissance 
motifs:  bicycles,  automobiles, 
prints,  type,  Oxford  Bibles  and 
machinery.  Is  this  either  beau- 
tiful or  consistent  advertising? 
The  Renaissance  is  the  reaction 
against  the  mediirval  expres- 
sion of  Christianity.  It  is  the 
return  to  material  naturalism. 
There  would  have  been  no 
Renaissance  and  no  Renais- 
sance ornament  if  there  had 
been  no  Gothic  period,  in 
which  the  church  svmbolicallv 
controllecl  every  particle  of  or- 
nament.    It  made  the  Renais- 


sance possible.  It  was  a  rebel- 
lion against  the  control  of  the 
church,  and  France  rebelled 
more  strongly  than  anv  other 
country.  France  more  than  any 
other  country  expressed  its  own 
Renaissance  because  it  was  try- 
ing harder  to  get  into  the  realm 
of  material  and  sensual  natural- 
istic ornament. 

hvery  period  of  ornament  is 
distinctly  and  absolutely  the  ex- 
pression of  a  period.  The 
Italian  Renaissance  can't  ex- 
press the  French.  Francis  I 
can't  be  expressed  with  Louis 
XV.  Louis  X\^  can't  be  ex- 
pressed with  Louis  XIV.  You 
can't  compare  Oliver  Crom- 
well with  Marie  Antoinette, 
and  they  were  the  dominating 
figures  in  their  periods  in  their 
own  countries.  You  can't  ex- 
press Dutch  life  with  an  Eng- 
lish picture.  You  can't  express 
your  English  stories  in  German 
script  letters.  You  would  not 
express  a  Spanish  title  with 
old  English  letters.  You  would 
not  think  of  using  alphabets 
which  arc  strictly  historic  to  ex- 
press anv  but  strictly  historic 
things,  ^^'llv  use  ornamental 
material  which  is  still  more 
strictly  period  in  significance? 
All  this  should  apply  to  our 
work.  Wc  should  use  orna- 
ment with  as  much  intelligence 
and  discrimination  as  the  other 
materials  with  which  we  deal. 


sac 


nciai 


HBDC 


It 

DBQ 


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THK  USE  AND  ABUSE 
01<  DECORATION 
AND    ORNAMENT 

C   11    A  r  T   E   R       S   E  V   E   X 


003  c: 


DODC 


Dcimc 


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THE     US  E    AND     A  B  l^  S  E     O  F 
DECORATION   AND    ORNAMENT 


C  II  A  r^v  V.  R    V\l. 

The  next  special  type 
of  ornament  is  the  orig- 
inal type,  so  called. 
Line  borders  of  our  de- 
sign are  original  bor- 
ders. So  long  as  we 
use  straight  or  curved 
lines,  vertical  and 
horizontal  in  abstract 
combinations,  they  are 
not  historical  nor  sym- 
bolic. If  we  use  such 
lines  we  are  within  the 
province  of  consist- 
ency. Curved  lines 
may  also  be  used  to 
form  material  strictly 
original.  By  origi- 
nal borders  is  meant 
borders  which  do 
not  repeat  any  fea- 
ture or  :hape  which 
is  symbolic  in  its 
meaning  or  which 
is  historic  in  its  sig- 
nificance. The  bor- 
der which  takes  the 
acanthus  leaf  and 
changes  it  a  bit  but 
still  n-iakcs  it  look 
flcantluis  can  never 
be  original.  It  is 
stil!  a  historic  bor- 
der. 


1.  \i:rv  co.wkx- 
tioxal   units   of 

D  E  C  O  R  A  T  I  O  X 
E  \-  O  L  \'  E  D  AND 
A  R  R  A  N  G  E  D 
FROM     A     FLOWER. 


'H 


I 


II.  An.'^TR.VCT  nOROKKS 
GOOD  IX  PRO  PORT  1(1  X, 
EFFECTIVE  IX  RELA- 
TION-. .SUGGE.'^TIVE.  ORIG- 
INAL .\Xl*>  IN  XO  \V.\Y 
SYMBOLIC     OR      HISTORIC. 


1  he  treatment  of  con- 
ventional roses  in  a 
stripe  of  wall  paper  is 
original.  Ihey  are 
conventionalized  roses. 

There  might  be  a  con- 
conventionalized  rose 
border  by  some  man 
who  knew  how  to  do  it 
and   it  might  be  good. 

It  could  properly  be 
called  original  because 
nobody  ever  saw  a  rose 
of  that  kind.  If  it 
were  the  acanthus  in- 
stead of  the  rose,  that 
would  be  copying  and 
maltreating  an  his- 
toric thing.  It  is  the 
same  thing  as  if 
vou  took  an  historic 
thing  and  turned 
up  one  corner  and 
said  it  was  a  pure- 
ly original  thing,  or 
if  vou  took  an  old 
English  letter  and 
filled  it  out  with  a 
new  twist  and  said 
it  was  an  original 
letter.  It  would  not 
be  original,  it  would 
simplv  look  as  if  it 
had  been   hit  bv   a 


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— li 


club    or    otherwise    deformed,     that  has  been 


going 


III.  COXVEXTIOXAL  BORDER  TREAT- 
M  E  X  T  FROM  X  A  TURK.  X  E  I  T  H  E  R 
HISTORIC     X  O  R     SYMBOLIC. 


There  is  a  re- 
bellion   going 
on  all  over  this 
country  against 
copying     any 
style  of  any  pe- 
riod   to    repre- 
sent   anything 
in    American 
life.  There  is  a 
rebellion  going 
on  against  giv- 
ing the  impres- 
sion or  expres- 
sion of  our  mod- 
ern   times     in    a 
copy     of     Louis 
Anybody,     or 
English,  or  Ger- 
m  a  n,    or    a  n  y- 
thing     foreign. 
There    is    the 
same  feeling  in 
Germany     and 
Austria,  in 
England      and 
in  France,  and 
they  call  it  the 
New  Art.     So 
that    the   New 
Art     in     Eng- 
land,   or    in 
Germany,    or 
France,    or    in 
this  country,  is 
nothing  in   the 
world  but  try- 
ing to  give  up  the  traditional     tion.     That   is 
copying,    the    historic    "grab"     Art  expression 


IV.  COXVEXTIOXAL  TREATMEXT 
O  E  D  E  C  O  R  A  T  I  O  X  U  X  I  T  S  FROM 
X  A  T  U  R  E.    IX    STRAIGHT    L  I  X  E  S. 


on  for  so 
long.  We  have 
grown    so    fast 
that  expression 
in  our  lives  is 
mostly    com- 
mercial, and  is 
chiefly     shown 
in  buildings,  in 
the   develop- 
ment   of    elec- 
t  r  i  c  i  t  y    and 
steam,  in  archi- 
tecture,   in   the 
telephone    and 
the     telegraph, 
in     matters     of 
transportation, 
in   affairs  of  the 
home,    and    all 
these   necessary 
things.    In  the 
expression      of 
finer    thino-s    we 
are    behind 
many  other 
countries. 

In  Germany 
and  Austria, 
there  is  a  dis- 
tinctly new  svs- 
tem  of  orna- 
ment— vou  call 
it  the'  "block 
system"  I  think, 
— consisting  of 
square  and 
block  construc- 
Austrian  New 


§ 
a 


■(■( 


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i 
B 


An  obloni2;  and 
two  squares, 
for  instance,  is 
given,  and  they 
say  to  pupils 
''Construct  out 
of  these  a  bor- 
der for  a  page 
twelve  bv  sev- 
en,  or  C  on- 
struct  a  border 
for  a  mantel- 
piece"  o  r, 
"Make  a  sten- 
cil to  go  along 
a  staircase," 
etc.  Austria 
makes  from 
such  things 
e  V  e  r  V  t  h  i  n  g 
from  advertis- 
ing borders  to 
woven  materi- 
als, stamped 
materials,  tex- 
tiles, rugs,  and 
the  like. 

In  Germany 
they  have  more 
libertv  of  line 
and  shape,  and 
take  \'  e  r  t  i  c  a  I 
and  horizontal 
lines,  and 
sometimes  in- 
clined lines, 
and  they  are 
not  confined  to 
straight  lines. 
Sometimes    the 


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X>f              1 

^ 

m 

z:^ 

-■-'-"—  — 

Iw-    .^ 

^  Ik*       - 

U.Hlk    t^     ik. 

••   U«   Mm  »> 

.k.  .44  iM   >krik>* 
r-rt^  ".f  k.  Hutf 

fX; 

_.^._ 

' JSiite    A 

?^ 

^Jlr 

v.      nOURI.F     PAGE     OF     ROOKLET     WITH 

wF.r.i.     srsTAiNKO     noRDK.R      srwriNf.. 
w  Ki.L  iiANDi.Ki)   u.I.^JSTl^\•n\  r.  .matti;u 

A.ND  ICU.NSIDEKING  KIND)   WliLL  PLACED. 


AI'Pr.IF.n.  RATIIF.K  (.(M)!)  IN  ITSKI.I"  lU'T 
oVKRI'OWKKINr.  TVPK  MATTER.  NOTE  OIS- 
TR  \rTI\G  EFFECT  OI-  THE  oUVAMENT  I\ 
CENTER.    AND    I.NCoRUECT    I'RorORTIONS. 


lines  are  lim- 
ited in  length. 
Thus  they 
build  original, 
picturesque  or- 
nament —  ab- 
s  t  r  a  c  t  o  r- 
namcnt. 

Then  there  is 
conventional- 
ized ornament, 
which  is  an- 
other way  to 
get  something 
decorative 
\\'  h  e  n  the 
straight  line  or 
abstract  border 
seems  too  hard 
or  not  decora- 
tive enough.  A 
still  different 
way  to  get  at 
the  original 
border  is  by 
producing 
something  new 
and  unrecog- 
nizable as  ever 
h  a  \'  i  n  g  a  p  - 
pea  red  in  any 
bit  of  histf^ric 
ornament.  This 
is  also  done  by 
adapting  a  nat- 
u  r  a  1  thing 
through  sim- 
plifying it. 

We  have  to 
choose  between 


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3ima 


the  absolutely 
new,  tlie  orig- 
inal and  the 
copy  of  the  old. 
We  will  have 
to  know  how  to 
get  away  from 
the  latter  and 
into  the  former 
before  we  get 
anything  like 
what  we  are  af- 
ter, and  just  as 
soon  as  we  do 
that  we  are 
making  a  tre- 
mendous stride 
toward  the  sec- 
ond class  of 
stimuli,  "Inter- 
est stimuli." 
The  public  is 
keenest  now  on 
this  original 
ornament  in 
decorative 
questions  ; 
they  have  no 
use  for  the  oth- 
er. The  right 
move,  even  so 
far  as  money  is 
concerned,  is 
toward  the 
original.  The 
country  is  alive 
to  the  fact  that 
the  original 
motive  is  the 
expression  of 
the  present 
time,  and  is  in 


TO  USERS  OF  PRINTING 


Wouldn't  M  be  »  relief —  9  big  relje£,  li  you  couUI  uy  to 
your  priniet,  "I  need  1  catalogue  —  a  circulu'  —  »ome  letrer- 
^eadi,"  and  have  him  lay.  "I'll  get  you  up  •omething,"  and 
'hen  be  able  to  forget  the  entire  maner  ui  the  coofidcDcc 
ihjf  hi*  njggcstioo  will  be  a  good  one. 

The  printo  romea  to  you  with  >  propoation  that  pUuet, 
thai  hai  lUong  idveniung  value  in  the  suggested  co").  the 
pTopo»ed   fypographv.   the   coloi    airangement — the    gcncraj 

layout 

Hlui  a  tatitfactton.  then,  tc  have  an  usurcd  con6dence  tJiU 
the  feQuhcd  product  will  be  ail  nfhi 

Tbe  printer  uho  car  do  that  for  yoo  mufl  offer  tfintit 
$rr\ur.  That  <■  *hai  we  are  giving  to  our  cuKOmcn'— 
what  wc  offer  and  are  ready  to  give  to  y*u. 

Are  Tou  ready  for  us  ' 


Thf  SOUTHGATE    PRESS 

BOSTON.    \     S    A. 


SHE 


3BE 


3HE 


3HE 


3PE 


3BE 


\\\.       THE       KIND       OF       O  R  N  A- 
M  E  X  T  A  T  I  O  X      NOT      TO      USE. 


The  1910  Murphy  Line 


W^" 


.  ifall  tekd  iKoB  klL  The  dutmcttre  fcaliBva  wiucb 
LtTc  diilancfj  aO  m»k  4Dd miuje tbe  Murphy  rrfilMi 
acDl  die  gRftterf  ti  tbe  kad  wiD  be  aoce  mwied  tfau  cw  ■ 
ow  aew  prociucL 

Never  More  Katc  we  ikcrwu  picturct  lo  aurtctiw  ^i 
txMAj.  The  bat  ia  Aoenca  ud  Europe  hu  bea  dnwB  ^e» 
hj  our  boyen,  wbo  pcrwoADy  nsl  the  ututi  ud  [.n.^— 
Moru.  the  AjnenuD  Tumo,  is  repnMsled  bjr  two  grc«l  caA> 
vs«a — coee  Keae  Dew  ba  Long  Ulutd  horse  ud  tbe  odra  ocb 
wnK  (he  (fonour  colonag  of  the  Crud  C«aoa.  Otduui  Km 
punled  Ajiothtf  great  rtory-tellffig  huatutg  pcture.  McCofd  hM 
p>es  lit  a  bnUuAl  i^eoeoi  Vcvce.  DrThulimjp  n  lepra^led 
by  ■  gieat  Ammran  hutonca]  (Bdlire.  AffloDg  EnrofKAB  utMl\ 
Roodel  hu  njrptuni  hmuelf  m  a  gloriou*  kIcaI  had.  Thi 
iwvetetf  thiog  dut  AJbert  Lynch  ever  puated  u  die  head  3hi»> 
tratui  the  corn  ti  tha  booUd.  No  more  dehfhlful  ctald  na^ 
was  ever  paiated  by  Arthts  J.  Eisley  thsa  'Hide  aad  Se^.^ 
Nor  should  we  forget  J.  Ross  Bryioo.  who  pdob  fee  w  alaa& 
There  are  pKlures  Iroal  die  Nabooal  Academy  <^  New  Yolk 
the  Ro>a]  Acatiessy  of  Loodoa  the  Psris  Saloo  and  ^My  othtf 
nsportant  exhihitioai.  But  why  partiaiUnze>  h  wouU  taka 
aaay  ps^es  to  property  nectlca  the  fifty  muDeiit  arbib  aad 
oearfy  ooe  huedrcd  p^  pamti^s,  and,  after  aO.  this  woaJd  aol 
tske  the  place  of  leemt  the  hue.  That  is  the  lMPORTA^a 
THING,  aod  II  u  as  anich  to  YOLIR  inered  aa  lo  an  iM 
roil  do  ao<  order  until  the  MURPHY  LINE  uirna. 

And  it  is  COMDMC  ai  pleaty  o<  Ine  for  yea  to  oAt 
cIkwW  d  Dot  satu&a.     BeB^plaaqbAnyoaMol^ 


\I  [  I.  .s  II  O  W  I  XG  C  O  X  V  E  X  T  I  O  X  A  L 
FLOWERBORDER  WELLPLACED 
A  X  D     WELL     USED     WITH     TYPE. 


*  the  line  of  de- 
velopment in 
other  fields,  as 
I  have  said  be- 
fore. 


As  to  the  types 
of  original  or- 
nament I  w^ant 
to     have     you 
feel   that  there 
are    some    dis- 
tinct   types    of 
these     in     this 
country,  in  our 
own  art,  which 
we  ought  to  un- 
derstand.  First 
we  ought  to  get 
for  our  borders, 
and     for     our 
head    and    tail 
pieces     things 
which  are  built 
perfectly,   on 
straight     lines, 
so     that     they 
may  be  in  ac- 
cord   with    the 
general     shape 
and     form     of 
our  material.  I 
h  a  \'  e  today 
been    squaring 
off  with  lines  a 
lot  of  street  car 
ads  to  see  what 
shapes  they 
would     make 
when  outlined, 
and   how  they 
would   arrange 


■ 
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loose: 


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icaac 


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imia 
IB 


themselves  on  pages.  Every  bit 
of  ornanient  that  you  put  in 
creates  a  new  shape  in  the  back- 
ground— sometimes  a  circle, 
sometimes  a  triangle,  an  ellipse, 
or  an  erratic  shape.  If  such  a 
thing  has  sufficient  excuse  for 
existing  and  vou  must  have  it, 


him  to.  He  can  become  so  in- 
terested in  the  foreign  thing 
that  he  will  forget  the  main 
thing.  A  piece  of  ornament 
can  destroy,  and  a  great  many 
times  tioes  destroy,  not  oidv  the 
beauty  but  the  efficiency  of  your 
advertisement.     \'ou  see  the  or- 


gOMHT  OLD  NEW  TOEL 

-t  li  Ihe  oM«(  l«clion  of 
Nrw  Yoflt.  fhe  pillarrd  front 
1  ot  Ih*  Sut>-Trfjsury  buildmii. 
wiih  Its  nussivr  columns,  may 
be  wn  «  the  end  of  the  street,  and  the 
cUssic  ticide  of  itw  Slock  Exchjngr  x 
Ih*  c«n«.  ncirby  This  pmmi-djy 
SvfPf  IS  in  sinking  conirast  to  Ihit  f«milur 
I )  pMff  Siuyvrtant 

St.  Paul's  Church,  ih*  oldest  church 
In  N<fw  >ork.  was  itlendcd  by  Grorge 
Washington  following  thr  ceremony 
hjw  It  IS  over-shadowrd  by  the  Singcf 
building 

A  bnjge  WIS  erected  across  Bro«d- 
wiy  X'  Fulton  Street  to  relieve  the  con- 
grt'e'd  iraflit  it  thai  point  Latef  ii 
w  i^  'emovevj  '>n  complaint  of  a  busir>eu 
run 


Quaint  Old  New  York 

St.  Paul's  Church,  the  oldest  church 
building  in  New  York,  was  attended  by 
C«orge  Washington  following  the  cere- 
mony on  Inauguration  Day.  Now  It  Is 
avershadowed  by  one  of  the  moil 
modern  structures,  the  Singef  building, 

A  bridge  was  erected  across  Broadway 
at  Fulton  Street  to  relieve  the  coogesteil 
traffic  at  that  point.  Liter  It  was  re- 
moved on  complaint  of  a  business  mai\. 

Here  is  the  oldest  section  of  New  York. 
The  pillared  front  of  the  Sub-Treasury 
building,  with  Its  massive  columns,  may 
be  seen  at  the  end  of  the  street,  and 
the  cUssic  facade  of  the  Stock  Exchange 
It  the  center,  nearby.  This  present- 
day  scene  Is  in  striking  contrast  to  that 
tomiliar  to  Peter  Siuyvesant's  children. 


!>.\.      TYPE    .\KR.\N(".K.MKNT    W  ITIl 
r.OOO   INITI.XL   .\NM)   ()kn.\mp:nt 
RUT    .-^HOWIXf^.     now    THF.V     DE- 
TR.VCT     FROM     TIU-:     TYPE     M.\T- 
TER    .\ND   OCCUPY    GOOD    SP.XCE. 

it  has  a  place  there,  but  if  it  is 
historic  or  merely  pretty  it  has 
not.  If  it  does  not  call  atten- 
tion and  relate  itself  to  the  rest 
of  the  material  it  is  time  wasted, 
space  wasted,  good  material 
wasted  and  money  wasted.  You 
mav  call  a  man's  attention  to  a 
thing  and,  if  it  is  not  related  to 
the  true  object  of  your  ad,  you 
mav  tiestroy  the  possibility  of 
his  grasping  the  point  vou  want 


yi:.     .S.\Mi:      .M.\TTER     .\.^     !'A     KI'- 
SET.       RE.\RR.\Nr.ED      .WD      SET 
IN   PI.  .\  I  \  TYPE  VV  I  T  II  O  r  T 
THE     I-  S  E    O  F     OR  N  .\  M  E  N  T. 


nament  and  say  you  like  it.  and 
forget  about  all  else.  I  have 
been  trving  it  out  on  children 
in  high  schools  and  on  grown 
people,  and  find  this  is  too  often 
the  case. 

The  next  important  thing  is  the 
lavish  use  of  ornament  of  any 
kind.  This  putting  it  in  be- 
tween things  and  on  things — 
putting   in   three   leaf   clovers, 


1 


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trefoils  and  the  like  is  tawdry, 
common  and  bad  taste.  How 
infinitely  better  that  there 
should  be  nothing  at  all  than 
meaningless  messes.  If  vou 
have  two  lines  to  fill  out  use 
dashes  rather  than  bad  orna- 
ments. 

Let  me  tell  you  that  the  lav- 
ish and  indiscriminate  use  of 
such  stuff  destroys  the  interest 
as  well  as  the  beauty,  and  uses 
up  space — good  space  that 
should  go  to  something  else. 

Our  next  problem  is  the  differ- 
ence between  "pretty  and  beau- 
tiful," and  I  want  to  make  that 
as  clear  as  I  can.  Some  of  you 
in  this  class  believe  that  so  long 
as  you  have  a  pretty  woman  in 
your  ad  you  have  advertised 
anything  and  everything,  be- 
cause, as  one  of  you  said  here 
one  night,  you  appeal  then  to 
human  interest  and  you  have 
the  man.  All  men  are  inter- 
ested in  women,  but  all  women 
aren't.  All  pretty  women  are 
not  interesting  under  all  cir- 
cumstances nor  all  men  inter- 
ested in  all  pretty  women  all 
of  the  time.  And  very  seldom 
in  your  ads  do  you  have  pretty 
women  who  are  really  con- 
nected with  the  things  you  are 
talking  about.  The  human 
mind  does  not  always  go  un- 
aided from  your  pretty  women 
to  the  material  you  advertise. 


It  frequently  goes  other  ways. 
Illustration  ought  to  illustrate, 
or  it  is  not  illustration.  1  think 
you  ought  to  ask,  "What  does 
this  illustrate?"  and  to  ascer- 
tain if  there  is  enough  incentive 
to  tie  it  to  what  you  are  trving 
to  sell.  I  think  this  illustration 
business  is  overdone  a  whole 
lot,  and  if  a  little  of  the  money 
were  put  into  arrangernent  and 
the  choice  of  color  schemes,  and 
into  educating  people  as  to 
what  things  mean,  just  as  many 
goods  would  be  sold,  and  a 
great  deal  less  poor  illustrating 
and  ineffective  advertising 
would  be  done. 

1  want  to  speak  of  the  pictorial 
as  related  to  the  conventional. 
The  lowest  type  of  art  is  abso- 
lutely pictorial — the  minutely 
pictorial  thing.  In  painting, 
the  lowest  possible  type  is  that 
which  pictures  every  detail.  If 
you  read  a  book  that  gives  vou 
the  last  word  in  detail  there  is 
not  much  satisfaction  in  read- 
ing the  book.  You  want  to 
leave  a  w^hole  lot  to  the  imag- 
ination if  you  want  a  thing 
good.  The  lowest  form  of  il- 
lustration is  the  one  that  makes 
peaches  look  as  though  vou 
could  pick  them  right  up  and 
eat  them.  If  they  do  that  they 
have  told  their  last  word. 
When  there  is  a  suggestion  but 
not  an  absolutely  pictorial  view 
of  it,  then  there  is  something 


84 


BBC 

e 


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B 

a 


((^r  the  imagination  and  an  in- 
terest stimulus,  because  the  ten- 
ilencv  to  use  the  imagination  is 
natural  in  human  beings.  It  is 
the  matter  of  suggestiveness 
that  you  want  to  get  into  illus- 
tration. The  Germans  have  vou 
beaten  to  a  finish  in  that.  'I'he 
German  posters  are  all  flat  now 
— suggestive  and  decorative. 
This  stvle  enters  stronglv  into 
all  European  art — Hat  decora- 
tive treatment  as  opposed  to 
detail  pictorial,  ^^'e  are  the 
only  people  now,  practically, 
who  are  actually  making  pic- 
tures that  show  well  polished 
finger  nails  with  a  little  white 
half-circle  on  them,  one  eye- 
brow heavier  than  the  other, 
and  so  on. 

This  type  of  illustration  of 
which  I  speak  is  known  as  con- 
ventional illustration.  It  is 
conventional  illustration  be- 
cause details  are  eliminated. 
Those  roses  of  which  I  spoke 
were  conventional  roses.  Con- 
ventionally treated  people  are 
used  with  them.  Have  dishes 
changed  any  since  you  can  re- 
member? Don't  you  remember 
when  it  was  the  stvle  to  have  a 


crab  on  the  salad  plate,  a  fish 
on  the  fish  plate,  etc.?  Now, 
evervbodv  smiles  when  they  see 
a  dish  that  is  naturalistic  in  its 
decoration.  You  will  see  just 
a  gold  line  or  a  gold  band 
around  it  this  is  because  peo- 
ple are  going  away  from  the 
picture  book  stage  of  under- 
standing. That  is  what  I  want 
to  see  advertising  do.  People 
must  fill  in  their  own  ideas 
from  illustrations.  They  only 
get  interested  in  what  is  per- 
sonal. The  more  suggestive 
your  ornamental  matter  and  il- 
lustrative matter,  the  more 
powerful  these  things  are  and 
the  more  are  we  on  the  right 
road  to  strike  the  psychological 
stimulus.  This  is  because  of 
the  selfishness  of  man,  because 
he  is  always  interested  in  what 
is  personal,  and  when  he  sees  it 
all  at  once  he  loses  interest  at 
once. 

The  instant  also  that  you  use  a 
thing  that  does  not  relate  to 
anything  that  is  essential,  you 
are  losing  monev,  time  and  ma- 
terial, and  you  are  not  doing  a 
beautiful  thing  in  the  end. 


THE  SIMPLEST  THING,  IF  IT  IS  .ADEQIATE.  IS  THE  BEST 
THING.  THE  GREEKS  PROVED  THAT.  THEY  INVENTED 
THE  DORIC  AND  THE  lONlC  COLUMNS  TO  SUPPORT 
WEIGHT;  IT  WAS  THE  RENAISSANCE  THAT  PUT  THEM 
INTO  PILASTERS  SrPERINH'OSED  AND  STICK  IN.  IT  IS 
THE  A.NH.RK  AN,  WHO  DoESNT  EVEN  GUESS  WHAT  LHEV 
WERE  INVENTED  FOR,  THAT  STICKS  THEM  IN  ANYWHERE, 
AND  AS  OFTEN  AS  SPACE  AND  MONEY   PERMIT.      F.  A.  P. 


DBBC 


THE  PROVINCE  AND 
POWER  OF  COLOR 
IN    ADVERTISING 

CHAPTER        EIGHT 


ami 
Q 


laai 


icacac: 


Dtaac 


Ida 


THE  PROX'INCE  AM)  POW  ER  OE 
COLOR    IN    ADVERTISING 


CIIAPTFR    Vni.     Color  is 

O II  c      of 

the  most  intcrcsiint;  and  impor- 
tant elements  in  nature  because 
the  eye,  the  organ  of  one  of  the 
five  senses  of  man,  sees  nothing 
but  coh)r.     Form,  as  we  call  it, 
is  seen  only  because  one  color  is 
placed  against  another,  and  by 
its  position  and  contrast  makes 
a  shape.     It  is  the  color  of  an 
object,   as    related   to    or    con- 
trasted with  that  of  other  ob- 
jects,   that    makes    the    shape. 
Form  is  dependent  entirely  up- 
on color;  in  other  words,  there 
is  no  form  without  color.    This 
being  true,   color   is   more   im- 
portant than  form,  and  the  un- 
derstanding of   it   is   more   im- 
portant in  advertising  than  in 
any  field  of  applied  art,  because 
advertising     is     naturally     de- 
pendent   upon    the    eve    alone, 
both  as  to  attention  and   as  to 
interest.     There   is   nothing   in 
advertising  to  appeal  to  the  ear, 
to  the  smell,  to  the  taste,  or  to 
the  touch.     It  is  one  of  the  arts, 
in  short,  in  which  sight  is  the 
only  sense  appealed  to. 

Since  the  eye  sees  only  color, 
and  advertising  must  appeal  to 
the  sense  of  sight,  it  is  one  of  the 
most  essential,  if  not  the  most 


vital  thing  for  the  advertising 
man  to  know  about.  To  know 
color  means  to  know  its  source, 
the  meaning  of  each  element 
and  the  (jualities  that  color 
tones  stand  for.  Every  tone  ot 
color  has  a  separate  meaning- 
yellow  speaks  a  definite  thin 
to  those  who  understand  it.  Blue 
cannot  say  what  yellow  says — 
neither  can  red  nor  violet.  V''io- 
let,  orange  and  every  other 
color  means,  each  in  itself,  a 
definite  idea. 

The  Egyptians  used  five  colors, 
vellow^,  red,  orange,  green  and 
blue.  They  used  them  in  their 
natural,  intense,  primitive  way, 
and  in  a  purely  symbolic  sense. 
The  early  American  Imiian 
had  four  colors,  and  used  them 
in  their  pure,  normal,  strongest 
way.  The  Aztecs  and  other 
primitive  races  followed  the 
same  svmbolic  color  use.  A 
certain  newspaper  uses  red  and 
blue  in  its  ads.  It  puts  together 
two  elements  of  color  in  a  man- 
ner fit  onlv  for  barbarians;  it 
grasps  only  the  primitive — the 
commonest  form  of  expression 
of  the  thing  for  which  it  stands. 

Little  children  do  the  same 
things  that  the  primitive  races 
have  done.     Everv  little  child 


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likes  bright  red,  bright  yellow, 
bright  blue,  bright  orange — 
any  bright  color.  Every  uncul- 
tivated person  likes  bright  col- 
ors in  their  brazen,  full  force 
just  as  uncultivated  people  and 
races  like  the  tom-tom,  the  bass 
drum  and  the  back  of  a  tin  pan 
better  than  they  like  the  harp  or 
the  piano,  whose  refinement 
and  complexities  they  do  not 
appreciate. 

Color  exists  because  of  light. 
Light  is  the  source  of  all  color. 
If  it  were  not  for  light  there 
would  be  no  color.  In  the 
night  there  is  none.  In  dark 
rooms,  shut  in  close,  there  is 
none.  When  vou  close  vour 
eyes  there  is  no  color,  except  as 
you  get  a  mental  picture.  The 
clearer  the  light  the  brighter, 
lighter,  stronger  the  color  is. 
In  the  evening  light  a  color 
does  not  look  as  it  does  in  the 
daylight.  It  won't  look  the 
same  in  gas  light,  or  candle 
light,  or  fire  light.  Every  arti- 
ficial light  changes  color.  If 
I  wxre  designing  a  program  for 
evening  use,  when  I  chose  my 
paper  I  would  choose  it  in  the 
light  in  which  it  was  going  to 
be  used.  If  I  w^ere  designing 
for  the  subway,  I  should  not 
use  the  same  colors  as  I  would 
for  the  surface,  or  for  a  station 
in  the  sunlight.  The  expert  in- 
terior decorator  who  is  deco- 
rating a  room  for  evening  use 


chooses  all  paper,  paint,  kalso- 
minc,  rugs,  furniture  and 
hangings  in  the  light  in  which 
they  are  going  to  be  shown. 

Light  determines  color,  and  all 
colors  as  such  are  intended  to 
show  in  white  light,  or  day- 
light. The  brighter  the  sun- 
light the  stronger  the  color. 
You  know  you  can  see  a  green 
hill  with  a  house  on  it  eight  or 
ten  miles  away  on  a  clear  day, 
and  you  can  almost  count  the 
windows  in  the  house,  but  you 
can't  see  the  hill  or  the  house 
on  a  cloudy  day.  That  is  be- 
cause the  light  has  changed,  not 
because  the  color  has  changed. 

Every  ray  of  light,  however 
tiny,  contains  all  there  is  in 
color.  The  physicist  and  the 
chemist  will  tell  you  that  white 
light  contains  three  elements. 
It  is  necessary  for  us  to  know 
that  the  pigments,  oil  paint,  wa- 
ter colors,  pastels,  printers'  inks, 
dye  stufifs,  and  the  like,  are 
based  naturally  and  entirelv  on 
those  three  elemental  units 
found  in  them,  namely,  yellow, 
red  and  blue.  These  three  col- 
ors put  together  in  a  certain 
proportion  make  a  pure  gray. 
They  make  gray  because  there 
is  a  sediment  in  each  one  of  the 
colors,  and  that  sediment  col- 
lects and  makes  the  gray.  If 
they  were  free  from  sediment, 
they  would  make  a  pure  white. 


§ 
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BCBi                               ipni                     nam  imoi            — inmr 

So,  if  I  know  how  to  mix  them,  X'iolct  or  purple  is  the  color  of 

I  can  make  of  vellow,  red  and  shallow,    of    darkness,    of    the 

hlue  a  pure  neutral  i^rav  with  ni^ht  -the   shadow   iiuality   of 

color  wholly  absent  from  it,  and  li^'^t-     ^ '""'S   color   has   always 

I    can    also   create   anv   of   the  been  used  to  express  mysticism 

tones  that  you  see  in  the  spec-  — churches   use    purple   to   ex- 

trum  chart.     Gray  is  the  result  press  the  sentiments  of  mystf- 

of  the  fusion  of  the  three  ele-  cism   and   solemnity.      Royalty 

ments  red.  yellow  and  blue,  and  uses   it,   and   always   has— it   is 

is  not  a  color.  known   as   tiie  "royal   purple." 

People  who  wear  black  because 

Let  us  deal  next  with  these  ele-  their  friends  iiave  died  put  on 

g       ments  separately.      First,   with  purple    when    they    take    the 

^       vellow,  the  one  that  is  nearest  black  off.     They  never  put  on 

like  light  to  the  eye.  red,  or  blue,  or  yellow.    Purple 

is  the  shadow  color,  the  sorrow 
\'ellow  is  the  piercing,  travel-  color,  the  mvstic  color,  the  op- 
ing, progressive,  incisive  color;  posite  of  light,  next  in  kin  to 
HI  short  it  is  known  as  the  lu-  blackness.  Purple  always  rep- 
minous  element  in  color.  It  is  resents  those  things  when  it  is 
then  important  that  yellow  knowinglv  used.  This  fact 
should  be  used  understandingly  counts  in  color  choice, 
when  you  wish  to  get  that  effect. 

As  the  result  of  experiments,  I  The  second  element  in  color  is 
found  that  in  a  dark  Hat  with  red.  The  primitive  peoples 
one  window  opening  on  a  court,  use  red  to  express  fire,  passion, 
and  the  room  papered  in  dark  temper,  tumult.  This  is  the 
blue  or  dark  red,  I  could  not  reason :  there  is  no  color  known 
read  ordinary  newspaper  type,  that  aff'ects  the  human  intelli- 
though  I  stood  within  a  few  gence  in  as  quick  and  as  irritat- 
feet  of  the  window.  Then  I  ing  a  way  as  red  does.  Red 
liad  the  room  papered  in  a  light  irritates  the  optic  nerve;  it  is 
vellow,  intense  in  cohor,  and  I  aggressive;  it  arouses  the  pas- 
could  read  the  newspaper  easilv  sions  in  people  and  brings  out 
in  the  same  position.  The  yel-  their  erratic  side,  just  as  it  ex- 
low  on  the  spectrum  is  twelve  cites  the  temper  of  the  bull  in 
times  as  luminous  as  the  purple  the  ring.  Did  you  ever  hear  of 
— twelve  times  as  strong  in  car-  anvone  shaking  a  blue  or  a 
rving  light.  This  fact  is  of  par-  trreen  rag  at  the  bull  in  a  ring? 
ticular  importance  in  out-of-  Did  you  ever  hear  (^f  a  turkev 
door  advertising.  gobbler  setting  his  feathers  at  a 


TiBBi  iiaBir 


■untwi inoir              iirnimi  ^cam^                 IJJUBi                                          iMlB 

. ■ |g 

green   thing  or   a   blue   thing?  The  reason  is  this:  As  the  red 

The  turkey  gobbler  will  strut  excites  the  optic  nerve  by  its  ag- 

and  set  his  feathers  at  the  very  gression     it    "comes     at    you" 

sight  of  red.     Orange  will  af-  quicker,  and  you  seem  to  see  it 

feet   him    in    the   same   way —  nearer  to  you  than  you  see  the 

yellow,  a  little.  blue,  which  is  cool  and  retreat- 
ing and   appears   to  carry^   the 

Another  illustration  might  in-  wall  away  from  you. 
terest  you.     A  certain  man  has 

made  the  experiment  of  paper-  Let  us  apply  these  things  to  ad- 

ing  a  room,  or  rather  covering  vertising.  If  I  take  an  advertise- 

it  with  textiles — he  could  not  ment  that  is  a  foot  square  and 

get   paper   WMth   colors   bright  put  the  whole  thing  in  bright       ■ 

enough.    The  room  first  was  in  red  w^ith  a  few  black  letters  and       ' 

white,  and  he  brought  in  some  a  few  w^hite  ones  on  it,  then  I 

men  and  asked  them  to  judge  have  a  square  foot  of  the  most 

the  size  of  it.    They  judged  it,  exciting    thing    in    the    color 

and  wrote  the  result  on  paper,  world,  w^th  its  entire  appeal  to 

The  same  experiment  was  per-  the  eye  in  the  least  important 

formed   in  a   red   room  of  the  place — the  background.     If   I 

same  size,   and   the   result   re-  put  it  before  a  man  who  has 

corded.     These  men,  with  one  any    color    sense    at    all    he    is 

exception,  changed  the  figures  knocked  cold  when  he  sees  it. 

and    made    the    room    smaller.  It  would  give  an  exciting  shock 

Then  he  covered  the  walls  of  even  to  a  brute,  and  a  shock  is 

the   first  room  with  blue,   and  not  always  good  advertising, 
called  in   the  same  men.     All 

but  two  of  them  changed  their  On  the  other  hand,  if  I  should 
opinion  and  made  the  blue  put  a  soft  neutralized  red  in  its 
room  larger  than  either.  The  stead,  it  would  not  be  so  bad. 
average  opinion  was  that  the  Therefore  color,  which  is  a 
red  had  decreased  the  size  of  force,  must  be  conserved,  must 
the  white  room  20  per  cent  be  saved,  and  the  less  area  you 
in  appearance,  but  the  blue  had  use  its  full  intensity  the  better  ^ 
increased  it  20  per  cent,  so  that  off  you  are,  for  "enough  is  a 
there  was  a  range  of  40  per  feast"  of  anything.  Red,  then, 
cent  difference  from  blue  to  is  fire  in  color.  It  is  the  thing 
white  and  white  to  red  in  the  which  excites.  The  Spaniard 
apparent  size  of  the  room  be-  needs  it  to  express  the  tempera- 
cause  of  the  color  of  the  wall  mental  condition  of  the  man. 
covers.  Many  Latin  races,  still  some- 


e 

e 


[BlllHC 
92 


-iiani —  imniBii  ■■■■Bf 


B 


B 


■  Ml  ipgi  iBBi —  iBgi  )Bici  lana 

wliat  primitive  in  taste,  need  it  not  made  in  tliosc  hrii^ht,  stroma 

to  meet  their  temperaments.     It  colors  for  the  reason  that  there 

is  the  coh)r  farthest  away  from  is  no  continued  comfort  in  tliem 

tlie    well-bahinced     individual,  at    the    time    wiien    i^rass    and 

It  appeals  to  passion  and  tem-  trees  are  Hourishin^.     \\'hy  do 

per;  it  is  ai;u;ressive  and  irritat-  so  many  people  use  ^reen  wall 

in^,  and  should  be  used  in  mod-  paper  and  green  hangings  for 

eration,  or  toned  to  its  proper  the  living  room?     Thev  do  so 

degree  of  elemental  force.  because  green  is  restful.    That 

is  whv  hirers  and  beasts  natural- 
The  other  quality,  blue,  is  the  ly  go  to  the  green  fields,  with 
opposite  of  red.  Have  you  ever  the  trees  and  the  blue  skies  over 
seen  Mrs.  Fiske  in  Becky  them. 
Sharp?  If  you  have,  you  re- 
member the  blues  and  blue  grays  Green  rests,  and  T  want  to  have 
she  used  in  her  stage  settings  you  feel  that  this  too  is  a  factor, 
and  costumes.  These  expressed  and  that  there  is  a  reason  why 
exactly  the  scheming,  unprin-  greens  and  blues  are  put  to- 
cipled  Becky.  Blue  is  the  un-  gether  as  Fiiuch  as  they  are.  You 
feeling,  cold,  formal  retreating,  see  green  more  in  furniture, 
unsympathetic  color.  Does  not  carpets,  clothes,  designs,  illus- 
a  light,  clear  blue  suggest  snow  trations  and  advertisements 
and  ice  to  you?  What  would  than  any  other  color.  This  is 
you  think  of  "A  Trip  to  true  also  of  textiles  and  of  wall 
Alaska"  advertisement  with  coverings, 
orange,    red    or   vellow    for    a 

background?  Would  vou  think  Orange,  which  is  red  and  yel- 

of  advertising  "A  Trip  to  the  l^^v,   is   fire   and    light,    and    I 

p:quator"  in  the  same  colors  as  think    that    is    why    the    negro 

"A  Trip  to  Alaska"?  likes  it.     It  takes  that  strength 

of  appeal  to  touch  the  average 

Blue  and  yellow  united  make  negro's  color  sense.     There  is 

green.     Do  you  see  why  green  nothing      negroes      love      like 

is   such   a   popular   color?     If  orange.  Red  will  do,  but  they 

vellow  is  light,  and  blue  is  cool,  would  rather  have  the  orange, 

cool  and  light  appeal  to  us  as  a  The  more  obtuse  the  individual 

comfortable  and  pleasing  place  the   more   he   will    fa\-or   those 

tor    summer    or    hot    weather,  colors,     ^^^hen     he    can    stand 

\\'hy  do  you  suppose  the  grass  bright    red,    briglit    green    and 

and  the  trees  are  green,  instead  bright    orange    touching    each 

of  orange  and  red?     They  were  other  he  may  be  said  to  have  no 


B 

Q 


Pni  iirr  — iwani —  umbii  mii- 


93 


§ 


—  ■  Ig 

color  sense.  It  is  the  same  with  them  as  a  background  for  an  ad- 
other  sense  stimuli,  like  noise  vertisement  you  have  taken  two 
for  example.  I  know  a  woman  of  the  three  possibilities  in  the 
who  says  she  would  not  move  color  field  and  put  them  to- 
off  Columbus  Avenue  if  you  gether  in  the  least  important 
gave  her  the  finest  home  on  place  in  which  they  can  pos- 
Riverside  Drive.  She  has  been  sibly  occur.  You  have  exhaust- 
j  living  there  for  years,  and  she  ed  two-thirds  of  the  possibility  ■ 
actually  likes,  so  she  says,  the  of  color  force  in  the  most  un-  p 
noise  of  the  elevated,  and  the  necessary  and  futile  way  it  can 
screeching  when  they  stop  the  be  used.  You  have  taken  two- 
trains.  This  has  grown  essen-  thirds  of  all  the  color  there  is 
tial  to  her,  and  to  move  away  and  expended  its  force  aimless-  g 
would  be  to  remove  something  ly  and  fruitlessly, 
from  her  life.  You  have  been  Green,  orange  and  purple,  hav- 
m  the  country  at  night  where  jng  two  of  the  primarv  colors 
there  wasn't  a  sound— where  in  them,  are  the  binarv  colors, 
you  couldn't  hear  a  thmg  but  a  They  are  binary  in  their  na- 
cricket,  and  that  cricket  seemed  ture ;  they  contain  two  elements, 
to  be  making  more  noise  than  They  are  a  little  more  interest- 
all  New  York.  That  is  because  ing  than  the  primary  colors— 
your  nerves  have  been  excited  more  interesting  than  pure  red, 
or  over-stimulated.  People  or  pure  blue,  or  pure  yellow, 
who  use  color  intemperately  The  green  is  more  inteVesting 
become  drugged  with  it  and  than  pure  blue  and  pure  yellow 
incapable  of  understanding  and  because  it  has  both  light  and 
appreciating  its  true  meaning  coolness  in  it,  because  it  is  of  a 
and  usefulness  in  harmonies.  dual  nature;  in  other  words,  its       | 

TVT                  ,                 ,        1     ,  composition    presents    variety. 

Now,   we   have   analyzed   the  y-J^^   ^^      ^^  ^^    -^    ^^^   ^^l 

red,  yellow  and  b  ue,  and  they  „^^„,^,    ^J  ,|[erefore,  has  an 

are    the    three    elements    that  jj   j    •   ♦    '   «.      t^u        u    •..   •„ 

,                              ,           ^,  added   mterest,   although   it   is 

make   up    every   color.       1  hey  ^            4.^   i        .i 

,,    ^    ,       -^      ,     .              -\  not  as  restful  as  the  green, 
are    the    elemental    forces    of 

all  color  expression,  the  com-  The  second  step  in  color  analy- 

monest,   the   crudest,   the   most  sis  is  to  see  clearly  the  qualities 

childlike,  loudest  things  we  can  of  each  color  tone.     There  are 

create.    There  is  nothing  more  three  distinct  qualities  in  color. 

to  be  done  when  you  have  used  All    color    has,    first,    what    is 

them  in  their  fullest  brilliancy,  known  as  hue.    Blue,  green  and 

When  you  have  taken  two  of  the  like  are  called  the  cool  hues 


BODC 

94 


Q 


— violet    is    also    cool.      Red,  and   red   are  complements;  so 

oranu;c   and  yellow   are  called  are   blue    and   orange.      Fhere 

the  warm  hues  of  color.     The  are  three  pairs  of  complements 

hue  is  the  cliange  that  the  color  in  the  spectrum  scale.     If  you 

undergoes    when     it    moves    a  put  yellow  into  violet,  or  violet 

little  toward  the  next  in  the  cir-  into  yellow,  it  will  make  gray. 

cuit — that    is,    orange    toward  A   little   yellow    in   violet   will 

B        red.  blue  toward  green,  violet  soften    the    violet,    or    destroy 

toward  blue  produces  what  is  some  of  its  native  force.    If  you 

called    red-orange,    blue-green  put  red  into  green  the  green  is 

and  blue-violet  hues.  softened,  or  neutralized,  in  the 

^P,  ,  1  •*      *u   *  same  way. 

1  he    second    quality    that    a  ^ 

color  has  is  its  intensity.     This  If  you  are  using  blue,  and  you 

is  perhaps  the  most  important  want  to  tone  or  soften  it,  do  it 

quality.     Intensity  is  the  bril-  with  the  brightest  orange.     If 

liancy    of    the    color,    its    own  you  have  no  orange,   take   red 

force,    its    limit   of   possibility,  and   yellow   and   make   it,   and 

This   intensity   question   is   the  you  will  get  the  most  beautiful 

most  vital  one  of  the  evening,  tone  of  blue  color,  soft  and  con- 

I  want  you  to  see  how  too  much  vincing,    but    not    intense    or 

intensity  of  color  wastes  force  crude.      Black    put    into    these 

in  advertising.  colors    gives    them    a    muddy, 

,-.,  .  ,•    ,  ,•  common    look.      The    comple- 

\\  hen  a  ray  of  light  is  split  up  ^^^^^  .^.jn  ^^i,^,^^^.^     j^,^  ^j^^^^  ^ 

and  thrown  out  like  the  spec-  .^^^  y^^^  .^.j^,^    j,^^.;^   ,^.^^i^.^ 

trum,  from  a  piece  of  glass  or  a  clearness  retained.     This  third 
diamond  ring,  you  can  see  the  y^^,  ^^en  is  intensity, 

three   colors,    red,   yellow   and 

blue.     Right   across   from   the  These,    then,    are    the   comple- 
yellow,    where    the    blue    lies  mentary  colors,  and  the  intensity 
across  the  red,  you  will  see  the  in  a  color  is  decreased  by  the  in- 
violet.  \\'here  the  blue  lies  over  troduction  of  the  complement 
g        the  vellow,  or  the  yellow  over  into  the  other  of  the  pair.    Full 
^        the  blue,  you  see  the  green.  The  intensity  of  color  should  be  con- 
red  and  yellow  together  make  sidered    as    impossible    in    the 
the  orange.  background    of    an    advertise- 
ment as  it  is  in  a  room.     It  is 
These  colors  are  complements,  the  strongest  thing  that  can  be 
because  each  one  destroys   the  used,    and    if  vou    use    it   in    a 
other's     power.       Yellow     and  background    instead   of    in    the 
violet  are  complements;  green  important    thing   vou   want   to 


Dfgi  mm  iianii  ininir  imm; 


95 


3IDBC 


DIBBDC 


I  SOB 

§ 


bring  out  and  emphasize,  you 
use  it  where  you  don't  want  the 
eye  to  go,  and  not  where  you 
want  attention  centered.  If  you 
are  hanging  a  picture  on  the 
wall,  the  less  disturbing  ele- 
ment there  is  around  it  the 
more  there  is  in  the  picture  and 
the  easier  the  picture  makes  its 
appeal. 

Backgrounds,  in  design  or  ar- 
rangement, have  for  their  ob- 
ject the  showing  up  or  the  ex- 
hibition of  something  upon 
them.  In  a  room  the  back- 
ground is  the  walls  and  the  floor 
and  the  ceiling.  In  a  showcase 
it  is  the  lining.  In  a  show 
window  it  is  the  framework  and 
the  lining  of  the  window. 

Diamonds  of  a  blue  white 
shown  on  yellow  plush  are 
bound  to  go  yellow,  and  the 
yellow  will  neutralize  the  blue 
and  produce  a  greenish  yellow. 
I  saw  some  diamonds  last  Sat- 
urday shown  that  way.  I  went 
in  and  asked  to  have  a  necklace 
taken  out  and  shown  me;  they 
proved  to  be  first-class  dia- 
monds, but  in  the  window  they 
w^ould  have  passed  for  third- 
rate  vellow  stones.  The  dealer 
didn't  know  what  he  was  doing. 

The  backgrounds  used  by  the 
advertising  man  are  the  papers 
on  which  he  prints.  These 
backgrounds  bear  the  same  re- 
lation to  the  printed  matter,  to 


the  decorative  material  and  the 
illustrative  material  that  the 
side  wall  bears  to  the  picture  or 
to  the  furniture.  The  back- 
ground of  the  advertisement 
bears  the  same  relation  to  the 
printed  matter  as  the  back- 
ground of  the  show  window  I 
just  spoke  of  bore  to  the  things 
exploited  in  the  window.  It 
bears  the  same  relation  to  the 
material  of  the  advertisement 
that  your  clothes  bear  to  your 
face.  They  are  the  backgrounds, 
or  settings,  in  other  words,  to 
show  up  something.  I  submit 
to  you  whether  the  color  of  your 
suit  of  clothes  or  the  lining  of 
your  show  window  should  be 
more  intense  in  color  than  the 
things  exhibited  upon  it.  If 
they  should  not,  then  the  back- 
ground of  your  advertisement 
should  not  be  more  intense  than 
the  material  shown  on  it,  unless 
the  area  of  the  background  is 
less  than  that  of  the  type  or 
other  objects  shown  upon  it — 
which  is  very  rare  in  advertise- 
ments. 

The  law  of  backgrounds  cannot 
be  violated  in  any  held  of  ap- 
plied art  without  producing  a 
bad  result.  The  law  is  this: 
"Backgrounds  must  be  grayer, 
softer,  or  less  intense  than  the 
objects  shown  wp  m  them." 

If  you  get  that  law,  that  back- 
grounds  must   be   less   intense 

(Covtinucd  on  page  101) 


B 


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— 11 


TIII'^  IIIA>TR\TI()X  SHOWS  I!L.\C  K  PRINTKD  MATTER  OX  A  FUI-F.  INTENSK 
RFD     B\tK<;ROL-Nn.       NOTE    THE    EEFECT   OK    THE     LSE    OF    THE     INTENSE    COLOR 

\S     r.  \CKC.K«MNI>.      TRY     A     WHITE    ON      IT.       THEN       A      FILL      INTENSE      CREEN. 

\II  \RF  OFSTROYED  IN  EFFECT  BY  THE  OVERWHELMING  AMOUNT  OF 
RFD      REFER  TO  LAW    OF  BACKGROUNnS  AND  TO  LAW  OF  AREAS  FOR  THIS  EFFECT. 


a 


THI>^  SHOWS  THE  SAME  PRINTED  M.VTTER  ON  A  HALF  INTENSE  RED 
I!.\(  K(;RorNI.  M.\DF  P.V  IMITING  PI  RK  (;REEN  INTO  PCRE  RED.  SCR- 
STITITF  WHITE.  THEN  ITRE  GREEN  PRINTED  MATTER.  AND  COMPARE 
Willi       TDK       AP.o\E       ILI.LSTRATION.       FOR       RELATIVE       STRENGTH       OF       TYPE. 


maac 


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Description  of  the  Color  Chart 


The  Color  Chart,  shown  on  the 
opposite  page,  shows  the  three 
primary  colors,  yellow,  red  and 
blue,  the  same  being  the  ele- 
ments out  of  which  every  other 
color  tone  is  made.  Yellow  and 
red  make  orange;  yellow  and 
blue  make  green;  red  and  blue 
make  violet.  These  three  are 
the  binary  colors,  so  called. 
The  even  step  between  the 
binary  and  its  adjacent  primary 
is  called  the  hue,  thus  the  step 
between  green  and  yellow  is 
yellow-green  and  the  one  be- 
tween green  and  blue  is  blue- 
green.  These  two  are  hues  of 
green.  In  the  same  way  there 
are  two  hues  of  orange  and  two 
of  violet. 

Complements  are  shown  oppo- 
site each  other  in  the  circuit. 


The  outside  circuit  shows  the 
normal  colors  in  their  full  in- 
tensity. The  inner  circuit — the 
background  circuit  —  shows 
half-neutral  tones  of  the  same 
colors  each  made  by  adding  to 
the  normal  color  a  part  of  its 
complement.  The  central  tone 
of  gray  is  made  by  using  any 
pair  of  complements. 

Beside  the  Color  Chart  is  a 
Value  Scale  of  grays  from  black 
to  white  shown  opposite  the 
normal    color    maturity    point. 

The  right  hand  side  shows  the 
cool  colors  and  the  left  the 
warm. 

From  this  arrangement  the  se- 
lection of  possible  color  har- 
monies, either  analogous  or 
complementary,  is  simple. 


e 


COLOR  IS  ONE  OF  THE  MOST  INTERESTING  AND  IM- 
PORTANT ELEMENTS  IN  NATURE  BECAUSE  THE  EYE, 
THE  ORGAN  OF  ONE  OF  THE  FIVE  SENSES  OF  MAN, 
SEES  NOTHING  BUT  COLOR.  FORM,  AS  WE  CALL  IT,  IS 
SEEN  ONLY  BECAUSE  ONE  COLOR  IS  PLACED  AGAINST 
ANOTHER  AND  BY  ITS  POSITION  AND  CONTRAST  MAKES 
A  SHAPE.  AND  EVERY  TONE  OF  COLOR  HAS  A  SEPARATE 
MEANING— YELLOW  SPEAKS  A  DEFINITE  THING  TO  THOSE 
WHO  UNDERSTAND  IT.  BLUE  CANNOT  SAY  WHAT 
YELLOW   SAYS— NEITHER   CAN   RED   NOR  VIOLET.     F.   A.   P. 


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than  the  objects  shown  on  them, 
you  will  realize  why  a  man  can 
wear  a  redder  necktie  tliaii  c^at 
—because  of  the  area  ot  it. 
That  is  whv  a  small  piece  of 
pottery  on  a  mantel  could  be 
brii^ht  red,  or  blue,  or  yellow 
and  not  offend  you.  while  a  wall 
paper  the  same  color  would  be 
unbearable  in  its  aggressive,  ab- 
normal display. 

The  smaller  tiie  area  tiie  more 
intense  the  color  mav  be.  and 
the  more  intense  the  color  gets 
the  less  area  it  must  have,  until 
in  full  intensity  it  must  be  in 
small  spots,  and  placed  at  the 
points  you  wish  to  emphasize. 

Having  covered  hue  and  inten- 
sity, we  now  come  to  the  fact 
that  the  third  quality  every 
color  has  is  value.  This  idea 
of  value  relation  has  to  do  with 
light  and  darkness,  from  white 
to  black,  so  that  the  white  is  the 
lightest  value  and  the  black  is 
the  darkest  value.  \\'hite  is  the 
nearest  to  yellow — black  is  the 
nearest  to  violet.  Yellow  itself 
is  one  step  from  white.  That 
is  wjiv  normal  blue  shows 
plainer  on  white  than  it  does  on 
black;  it  is  nearer  to  black  in 
color.  There  is  a  difference  be- 
tween the  qualitv  of  light  and 
darkness  and  the  quality  of  in- 
tensity, and  that  is  where  people 
get  mixed  in  their  contrasts. 
^^'hich  is  the  stronger,  black  on 
^vhite  or  white  ou  black?  Black 


on  white  of  course,  because 
white  diffuses  light  rays,  and 
black  absorbs  them.  \\'hite  is 
all  three  colors  fused  together. 
If  the  three  colors  produce 
white,  you  can  understand  why 
white  reflects  back  color.  Black 
has  no  color  in  it  at  all.  It  is 
the  absence  of  color,  and.  there- 
fore, it  absorbs  a  lot  of  the 
colors  iFi  a  ray  of  light  when  it 
is  put  on  it  instead  of  sending 
them  back  to  you. 

The  colors  are  stronger  on 
wiiite  than  on  black.  Do  you 
see  now  why  they  are?  Black 
is  stronger  on  white  than  white 
is  on  black  for  the  same  reason, 
and  a  black  sign  printed  in 
white  has  not  near  the  carrying 
force  that  a  sign  with  black  on 
white  has.  l^he  more  transpar- 
ent a  color  is  the  nearer  to  white 
it  is  on  a  white  background, 
and  the  nearer  it  approaches 
black  the  more  opaque  it  is. 

Bear  in  mind  these  three 
fundamental  qualities.  Every 
color  has  first  its  hue,  second  its 
intensity  and  third  its  value,  or 
its  liglu  and  dark  effects.  Each 
of  these  presents  an  opportunity 
for  contrast  in  combination 
with  otiier  color  tones. 

The  next  thing  to  consider  is 
the  law  that  fixes  our  selection 
of  colors  which  mav  be  used  to- 
gether. This  is  color  harmony. 
Things  are  in  harmony  when 


B 

a 


i 


Doac 


DBiiai 


iniEK 


lOI 


certain    relationships   exist  be-  be  used  together,  each  in  its  full 

tween   them,    and   at   no   other  intensity,  except  separated 

time.     Colors  are  harmonious  strongly    by    black    or    white, 

when  there  is  a  likeness  in  them.  They    may    be    used    together. 

How  much  is  yellow  related  to  however,  when  one  of  them  is 

green?    One-half.    Is  it  related  half   neutral.      Suppose   I    am 

to  blue?     No.     How  much  is  making  a   car  card   and  want 

green  related  to  blue?  One-half,  to  use  orange,  blue  and  black. 

Will  yellow  and  green  and  blue  Which  will  be  the  right  thing 

form   a   color  harmony?     No,  to  do,  to  get  a  neutral  orange 

never    in    their    full    intensity,  paper,  "light  vellowish  brown" 

Are   green   and   blue   harmon-  and  put  the  full  intense  blue  on 

ious?      Yes.      They    are    half  it,  or  get  a  neutral  blue  and  put 

brothers  to  begm  with.     This  the  orange  on  it?     The  light 

natural  blood  relationship  is  the  background  is  better,  and  must 

basis  for  the  harmony  of  like-  be  at  least  half  neutral, 
ness,  or  analogy,  in  color  choice. 

There  are  two  kinds  of  color  T^hus  we  have  two  kinds  of 
harmonv.  Both  of  them  are  harmony  at  our  disposal,  ana- 
based  on  relationship.  The  logous  and  complementary, 
first  kind  is  called  related  or  ^lack  and  white  may  go  with 
analogous  harmonv.  This  tvpe  ^"X  color  combination  and  be 
is  based  on  colors'  chosen  near  ^^ght,  and  so  may  a  perfectly 
together  in  the  spectrum,  for  in-  rieutral  gray, 
stance,  yellow  and  green,  green  Let  us  next  define  the  terms 
and  blue,  blue  and  violet,  violet  tint  and  shade  so  that  thev  mav 
and  red,  red  and  orange,  orange  be  used  in  their  proper  mean- 
and  yellow.  They  are  each  [^g.  A  tint  is  a  tone  which  is  B 
partly  related  to  the  other,  and  lighter  than  the  color  itself  at 
therefore  are  harmonious  to-  normal.  Any  red  which  is 
gether.  These  analogous  colors  lighter  than  the  natural  red  is 
may  be  used  together  so  long  a  tint,  and  any  red  that  is 
as  you  do  not  cross  the  primary  darker  than  that' is  a  shade.  A 
colors  in  your  choice,  and  value  tint  is  a  thing  lighter  than  the 
and  intensity  laws  are  obeyed.  normal  color.    The  addition  of 

^,                1  ,  •    1     r  1                 •  ^vater  or  white  gives  it  a  tint. 

The  second  kind  of  harmony  is  ^he  shade  is  made  bv  adding 

called    harmony    of    contrast,  ^lack  to  the  normal  or  natural 

C  hoose  any  pair  of  the  comple-  ^olor 

mentary  colors,  like  blue  and 

orange.    Those  two  mav  never  In  the  successful  use  of  color 


el 

■I 

I02 


■ 


BCSC 

e 


3C1BII 


HBOC 


we  must  first  choose  harmoni-  our    advertising    matter    with 

ous  colors  and  recoi^nize  their  understanding,    discretion    and 

possibilities  of  contrast  through  temperance.     This   is  not  only 

a  knowledge  of  their  qualities;  true     art,     but     the    economic, 

then  we  must  organize  and  ad-  natural    and    sane    commercial 

minister   color   distribution    in  course  to  follow. 


Q 


i 


THE  UNITED  STATES  SENDS  PRACTICALLY  NOTHING  TO 
OTHER  COUNTRIES  EXCEPT  CANNED  BEEF,  AUTOMOBILES, 
SEWING  MACHINES,  MOWING  MACHINES  AND  RAW  MA- 
TERIALS. IT  IS  NOT  POSSIBLE  FOR  US  TO  BUILD  CARPETS 
AND  RUGS  AND  CLOTHES  AND  FURNITURE  AND  TEX- 
TILES AND  OTHER  BEAUTIFUL  THINGS  THAT  PEOPLE 
IN  JAPAN  AND  CHINA,  OR  EVEN  GERMANY  AND  FRANCE 
AND  ENGLAND  WILL  ACCEPT,  BECAUSE  THE  QUAL- 
ITY OF  ART  IS  NOT  IN  US.  UNTIL  THIS  QUALITY  IS 
IN  US,  WE   CANNOT  PUT   IT   INTO    MATERIALS.      F.   A.  P. 


■ 
■ 


THK  SKLECl  ION 
ANDUSKOl  rVPK 
IN  ADVERTISING 


CHAPTER 


\  1  X  K 


THE    SELFXTION   AND    USE    OF 
TYPE    IN    A  D  \^  E  R  T  I  S  I  N  G 


CHAPTER     IX.    \'ery 

"      i  11  t  i  - 
niatelv  connected  with  illustra- 
tive matter  aiul  decorative  ino- 
t  i  \'  e  s   is 
the     sub- 
j  e  c  t    of 
t  V  p  e    1  n 
the     con- 
struction 
of  an  ad- 
\'  e  r  t  i  s  e  - 
ni  e  !i   t. 
To  me  it 
is     vastly 
more  im- 
p  o  r  t  a  n  t 
because 
all    ad- 
\-  e  r  t  i  s  e  - 
m  e  II  t  s 
cannot  be 
illus- 
trated, 
nor    do 
they    re- 

(juire     ornamental 
placed     around     them,     above 


thino;  to  stutly  amont^  the 
mechanical  devices  for  convey- 
ini;  thought  that  the  adver- 
tisini:    man    has    to    deal    with. 

T  h  e  r  e 
are    limi- 
tations in 
t  \  p  e .      1 
realize 
that   it   is 
p  c  r  m  a  - 
nent    and 
indexible 
in     form, 
and    that 
cost  limits 
lis.  so  that 
we    can- 
not  a  1  - 
ways  have 
our    own 
choice   in 
the    mat- 
ter, but  at 


\  liOOK  COVER  snow  I  NT,  I  I,  I.  T  S  T  K  \  T  1  O  X 
\  N  n  T  V  1'  K  W  HIGH  A  RE  H  A  R  M  O  N  I  O  U  S 
WITH    T  n  F   T  I  T  L  E  A  N  D  \V  I  T  H   E  A  C  H  O  T  H  E  R. 


motives 


the  same 
time  1  believe  that  there  is 
a  vast  chance  to  use  type 
them,  or  below  them.  Most  of  shapes  knowin.t^ly  that  all  of 
them  do  not  require  such  us  have  not  thought  of.  I  here- 
thini^s,  but  everv  advertisement  fore.  I  want  to  brini;  before 
mus'r  have  tvpe  to  convev  to  vou  a  few  of  the  ideas  that 
public  intelli.i^a'nce  the  thoui^dit  seem  to  me  to  be  important  in 
we  have  to  present.  Since  we  the  matter  of  letterin.i,',  or  the 
must  use  tvpe  so  much,  it  seems  use  of  tvpe.  to  convev  thoui^dit 
to  me  to  be  the  most  important     to  the  public  in  our  advertising. 


■ 


D#t: 


icnmi 


I  IDC 


DiBin[ 


isna 


Type,   by   its   size,   shape   and  So,    it    is    essential    that    the 

general  character  alone,  is  ex-  tvpe,  particularly  hand   letter- 

pressive    of    certain   thoughts,  ing,     should     be     judged     bv 

and      th _  ^_^  ^ ^^  _        ^ 

Something'  ever>'  woman  wanrs 


^^5  in  tf\h  n  itij  ^o\ 

Aconstandy  increasing  number  of  women  find  a\'aniTy  Box  wuh 
Talc  Pouder.  puff  and  mirror,  indispensable  when  shopping 
motonng.  rravding  or  at  the  seashore.  Mosi  u  omen,  especially 
young  women.  uiU  be  glad  to  get  one  of  these  attractive  and 

useful  little  boxes  for 

which, at  a  store. they 

would  wilHngly  pay 

a  dollar  or  more     If 

you  don't  need  it  your- 
self, it  v^tll  make  an 

exquisite  little  present 

(or  some  fncnd 


W'hai  others  say 

To  indicate  how  acceptable  this 
little  Vanity  Box  is,  wc  quote  a 
(rw  Icrrcrs  (rom  women  who  havi* 
received  the  V'anity  Box. 

Th*  dilrilr  bei  (iTlixl  lodarand  1  amtopl— »^ 


Kr^"«i' 


How  to  get  It 

Buy  a  can  o1  U'l/iiamf'  Talc  Pouder. 
send  us  the  name  ol  the  dealer  of 
whom  you  bought  it,  (he  date  and 
/f>  (enliin  stamp s  We  will  send  >oo 
this  beautiful  silver-plated,  hinged 
top  fan  try  fie*,  with  imponed  pow 
der  puff  and  concentrating  mirror 
Sent  only  on  above  conditions 
The  fantry  Box  is  heavily  plated 
and  should  last  for  years 


e  s  e 
thoughts,  or 
feelings,  in  type 
ought  to  express 
what  the  adver- 
tisement claims 
to  stand  for  just 
as  much  as  the 
illustration  does. 
Let  me  illus- 
trate: If  I  am 
advertising  a 
delicate  per- 
fume and  the 
character  of  the 
letter  in  size  and 
shape  does  not 
in  any  way  rep- 
resent the  lan- 
guage of  the  ad- 
vertisement but 
is  a  letter  that 
ought  to  repre- 
sent lead  pipe  or 
pig  iron,  the 
type  is  mislead- 
ing and  inap- 
propriate.    The 

character  of  the  letter  which  kinds  of  type:  First,  that  which 
says  "wading  birds,"  meaning  is  historic  in  its  significance; 
storks  and  other  long-legged  and,  second,  that  which  is  per- 
birds  with  slim  heads  and  very  sonal  and  individual  in  its  sig- 
long  necks,  should  never  be  nificance.  First,  we  will  deal 
used  on  a  book  cover  that  talks  with  the  historic  kind, 
of  printing  presses  or  freight 

cars.  The  character  of  letters  We  have  alphabet  shapes  clear- 
that  can  say  French  chiffon  ly  defined  as  expressive  of  cer- 
can't  say  wrought  iron.  tain    historic    things.      Gothic 


Williams' 

^Ic  Sawder 

MAGAZINE  AD  IX  WHICH  THE  KIXD 
OF  TVPE  USED  FOR  •AAXITV  BOX" 
AXD  'AVILLIAMS'  TALC  POWDER"  IS 
ADMIRABLY  SUITED  IX  FORM  TO 
THE  IDEA  OF  VAXITV.  THE  SHAPE 
AXD  LIXE  OF  THE  ORXAMEXT  AT 
THE  TOP  SUGGEST  THE  SAME  IDEA. 


feeling.  It  must 
express  what  the 
words  sav,  or 
two  ideas  are 
presented  to  the 
consciousness.  If 
there  is  a 
thought  in  the 
meaning  of  the 
words  and  an- 
other thought  in 
the  meaning  of 
the  type,  we 
have  lost  the 
point;  we  have 
said  two  things 
at  once,  and  we 
have  missed  the 
chance  to  say 
the  same  thing 
twice,  which 
you  all  know  is 
better  than  once 
if  there  is  inter- 
est in  the  man- 
ner of  saying  it. 

There    are    two 


io8 


]B1II]  [ 


)0B( 


tvpe  expresses  life  in  Gothic 
times.  Old  Kni!;lisli  t\  pc  ex- 
presses lite  in  the  dav  ot  1  lenry 
VII,  Hcnrv  \'III   and  the  old 


Tire  trooble  is  not  a  factor  with 
oiE  Krankun.   Large  tires,  light 

WEIGHT  ASD  RESILIENCY  ELIMINATE 
THE  ANNOYANCE  AND  EXPENSE  OF 
BLOWOLTS;    EVEN    PUNCTURES   ARE 

RARE.  Total  service  per  set  of 

TIRES  BY  ACTUAL  REPORTS  FROM 
O*  NERS  IS  EIGHT  TO  TEN  THOUSAND 
WILES  WPTH  AN  A\TRACE  OF  THREE 
THOUSAND  MILES  WTTHOUT  A  PUNC 
TURE  Four  CHASSIS  SIZES  AND 
TWEL\-E  BODY  ST>LES  INCLUDE  T\*0 
FOUR  FIVE  ANDSEVXNPASSENGER. 
MODELS 

Franklin  Automobile  Company 

Si«ACU9e   N   Y 


Hampton  Court,  or  the  chapel 
ot  Henry  \'ll.  or  the  interior 
of  anv  otiier  ohl  I^n^lish  struc- 
ture of  tlic  [leriod.     If  the  ideas 


tht 


C,>J  Mu«U  Fet  Voui  CmiW 


trijc  JJalbluin  ^larrr  Piano 

„  „.d  ,=lo  th.  1.0»  rou.  o-o  ,o.c^c.t,<»  ol  ,hr  co=p<~.  .  =~..« 

■n.»  d^.i=^.v.  chu-rtn  .1  lb,  wd...  p^.  "-trf  •  ^  •;;""_ 

p.n.c»U.  K«p.  ..<)  .r£n.»«.. :  oo,  ct-bl,  ../..■.>  ..pl-."ll  lUldm.  « 
B^mo  pl.r«  o^lunm.  I.  lb.  —..  .J»l  -I  >>"  "J''""  "^"^ 

„,„«.=t  »  .po.u«»u.  »d  pcno.^.   lb.  .o.^.u«  bcuulij.  ib.  -f 


ruAVfcn 


^      fflifi^itaiinltompanii 


^ 


M.\(.A/INK  AD  SHOWING  TVl'K  OF  A 
VKRY  IMl'KRSONAL  NATURE;  AB- 
STRACT. AND  THKRKI-ORK  NOT  MIS 
LEADING      IN      ITS      SIGNIFICANCE. 

English  periods  in  which  that 
tvpe  was  first  cast,  and  they  ex- 
press the  thoughts  of  those  peri- 
ods just  as  much  as  hig  rutts, 
padded  waists,  padded  sleeves, 
full  skirts,  white  stockings, 
linen  panelling  and  gothic 
arches  expressed  the  thought  of 
the  age.  Old  Knglish  type 
means  just  as  clearlv  a  certain 
thing  and  a  certain  spirit  in 
English  life  as  does  the  decora- 
tive  material   on   the   wall>   of 


SHOWING  CSE  OF  HISTORIC  TM'h  IN 
I1I\I)INGS.  NOT  SIGNIFICANT  OF  IIIK 
I'FKIOD  NOR  OF  THE  ARTICLE  AD- 
\KRT1SEI).  NOTE  EFFECT  OF  COM 
15INING  THIS  TYPE  WITH  THAT 
USED  IN  THE  HODV  OF  THE  AD. 
\ND  ALSO  THE  INCONSISTENCY  OF 
THE    SMALL   'THE-    IN    THE    HEADLINE. 


and  ideals  of  what  the  English 
were  in  those  periods  find 
expression  in  carveil  wood, 
wrought  iron,  textiles,  furni- 
ture and  all  things  else,  why  is 
not  the  type  just  as  significant 
of  the  period  and  its  ideas  as 
the  walls,  textiles,  pottery, 
dishes  and  other  materials  are? 
A  nation  and  people  alwavs  ex- 
presses itself  in  more  than  one 


■ 
■ 


aai 


medium, 
but  it  ex- 
presses 
the    same 
ch  a  rac- 
teristics 
all    the 
time, 
wheth- 
er    it     is 
building 
houses, 
weaving 
carpets  or 
writing 
books.    It 
seems    to 
me    that 
the  very 
a  ppear- 
a  n  c  e  of 
old   Eng- 
lish   type 
bars     out 
the  possi- 
bility, by 
the  law  of 
associa- 
tion, of  its 
i  n  d  i  s  - 
criminate 
use.      I 
do    not 
mean    by 
that    ei- 
ther  that 
every- 
thing 
En  glish 
should  be 
nor    do    I 


The     Principles    of    Arrangement 

■  ■  m 

""  I  HE  Lcapuc  has  conducted  a  courw  of  study  and  experiment 
designed  to  find  out  the  basic  principles  which  may  with 
certainty  be  apphcd  to  the  irrangcment  of  advertisements,  in 
order  that  they  may  secure  attention,  be  made  attractive,  easily 
and  quickly  comprehended,  and  from  their  very  appearance 
expressive  of  the  message  they  arc  intended  to  convey. 
Sixty  advertising  men  have  participated  in  the  work  tod  unanW 
mously  pronounce  it  of  great  practical  value. 
Many  of  the  principles  formulated  are  illustrated  io  the  exhibit  by 
examples  showing  both  conformance  and  violation. 

A  circular  descriptive  of  the  work  in  detail  may  be  bad  u  |tw 
exhibit. 


.--IIOWIXG  GOOD  TASTE  IX  THE  SELECTION  AND 
ARRANGEMENT  OF  TYPE.  NOTE  THE  MARGINS 
OF  SHEET,  THE  SIZE  OF  HEADING,  THE  KIND 
OF    TYPE    AND    THE    KIND    AND    SIZE    OF    INITIAL. 


n 


DRY  GOODS  ECONOMIST 


Fabric  Section 


NEW   VORK.   SATURDAY    DECEMBER  4.   IM 


^^crmmc  ^vufitiarv  jUsdue/ 


TRADE  PAPER  HEADING.  NOTE  EFFECT  OF  USING 
FOUR  STYLES  OF  TYPE.  THE  TOP  ROW  SUGGESTS  A 
STONE  WALL;  THE  SECOND  LINE  ABOUT  THE  TEX- 
Tl'RE  OF  WOOD;  THE  FOURTH  LINE  IS  EXCEPTION- 
ALLY GOOD  AS  SUGGESTIVE  OF  AN  EGYPTIAN  TISSUE. 

Is  a  T^henomenal  Success 

^^UR  increased  output  for  the  Spring  Season 
1910  is  entirely  sold  out.  The  jobbers 
throughout  the  country  have  taken  it 
all— every  piece.      LORRAINE  EGYP- 

NOTE  THE  INCONSISTENCY  OF  PLACING  AX 
INITIAL  SO  FAR  P.KLOW  THE  OTHER  LETTERS 
OF  THE  SAME  WORD  AND  IXTRODUCIXG  THE 
LARGE  AREA  OF  SURROUXDING  ORNAMEXT— 
THKREP.Y     FURTHER     ISOLATIXG     THE     IXITIAL     "O." 

in  old  English  type,     ical,  but  whenever  hi 
mean    that    every-     ter    is    expressed    in 


thing  old 
should 
be  in  old 
English 
type,   but 
every- 
thing 
in     old 
English 
type 
should 
be     sug- 
gested by 
some     of 
the  activ- 
i  t  i  e  s  , 
thought 
processes, 
c  o  n  d  i  - 
tions    or 
limita- 
tions   of 
the    pe- 
riod   to 
which    it 
belongs. 

What  is 
true  of 
old  Eng- 
lish type 
must  be 
true  also 
of  any 
other 
type 
which  is 
purely 
h  i  s  t  o  r- 
storic  mat- 
type    to- 


■ 
■ 


no 


■  at 

e 


lanc 


B 
Q 


tally  foreli^n  In  fcclinf^  to  the 
th()iiu;ht,  it  is  bad.  Whenever 
totally  modern  things,  in  rela- 
tion, in  feelini^  and  in  spirit,  are 
said  in  type  of  a  tiifferent  pe- 
riod, that  is  bad,  because  there 
is  a  double  thouii^ht  present,  and 
one  thought  should  be  empha- 
sized by  repetition  instead  of 
beint^  killed  bv  opposition.  Let 
us  then  look  into  the  historic 
sit^niticance  of  letter  forms  and 
make  them  a  force  as  they 
should  be. 

The  second  kind  of  type  is  the 
personal  or  individual  type.  I 
want  you  to  remember  my  illus- 
tration of  the  chiffon  cloth  as 
opposed  to  the  wrought  iron; 
the  wading  birds  as  opposed  to 
freight  cars  or  printing  presses. 
Old  Dutch  Cleanser  is  opposed 
to  fine  laces,  just  as  much  as  a 
church  revival  is  opposed  to  a 
French  ball.  If  there  is  noth- 
ing expressed  by  the  form  of  a 
letter,  then  there  is  not  anything 
suggested  to  you  when  1  say 
"wading  birds"  and  describe 
their  long,  slim,  angular  legs. 
[f  the  character  of  the  letter 
suggests  the  wading  bird,  then 
all  these  otiier  things  will  come 
to  you,  if  you  will  give  the  sub- 
ject anv  thought.  T  submit  to 
vou  that  a  Dutch  W  and  a 
French  ^^'  must  necessarily 
look  diff'erent.  The  French 
hall  would  be  advertised  bv  a 
different  shaped  and   ditterent 


sized  letter,  than  a  Dutch  kitch- 
en or  a  Dutch  door.  There 
is  a  feeling  of  heavy,  thick, 
ponderous  shape;  there  is  a 
broad,  well-set  feeling  in  the 
Dutch  idea — and  there  is  in  the 
Dutch  letter.  There  is  a  long, 
rather  slim,  rather  refined,  not 
too  stable  but  verv  graceful 
feeling  in  the  French  idea. 
There  could  not  be  a  French 
idea  that  you  could  take  hold 
(^f  and  use  for  a  paving  stone. 
French  things  are  alwavs  sug- 
gestive of  something  that  vou 
think  you  are  just  going  to  get 
hold  of  when  it  vanishes.  There 
is  a  refinement  about  them; 
they  are  imaginative,  generallv 
somewhat  charming  to  look  at, 
and  they  cannot  be  expressed  in 
crude  blocks  of  wood  or  cold 
stone  posts. 

These  different  types  and  kinds 
of  letters  have  to  me  and  to  a 
great  many  other  people  a  verv 
definite  meaning.  Clumsv  ones 
feel  to  me  like  freight  cars. 
Thick,  heavy,  very  strongly 
contrasted  ones  feel  more  like 
machinerv  and  similar  things 
than  they  do  like  chiffon  and 
laces. 

^^'hen  illustrations  do  not  have 
anything  to  ilo  with  the  point  I 
say  leave  them  out.  \^'hen  they 
do  have  anything  to  do  with  the 
point,  thev  must  illustrate  that 
point,     ^^'hen  decorative  mat- 


BBC 


Dmmii 


UBDC 


III 


DCDI 


KBai 


T  gm  gn  r" 


naoDc 


DBnc 


ter  has  no  function  to  fill,  ex- 
cept to  occupy  space,  leave  it 
out.  \^'hen  letters  are  rightly 
used  they  will  speak  what  the 
advertisement  is  intended  to 
say  by  their  make  up,  size  and 
form  as  well  as  by  the  words 
spelled  out.  Let  every  letter 
have  a  mission,  just  as  every 
word  has  a  mission.  If  the 
shape  and  form  of  the  word 
means  anything,  every  letter  in 
it  means  something.  If  everv 
letter  has  a  meaning  it  must 
measure  up  to  the  possibility  of 
its  force  in  every  special  use. 

The  right  idea  in  the  selec- 
tion of  type  is  the  idea  of  per- 
fect consistency  between  the 
type  and  the  thought.  Now 
then,  in  the  use  of  upper  and 
lower  case  material  there  is  a 
chance  for  us  to  apply  that  fact 
or  that  law.  There  must  be  co- 
ordinate type  where  there  is  co- 
ordinate thought.  What  w^ould 
you  think  if  the  name  John 
Howard  Smith  were  shown  in 
different  letters — John  in  cap- 
itals, Howard  in  script  or  old 
English  and  Smith  in  italics? 
It  would  be  a  little  out  of  the 
ordinary,  wouldn't  it?  But  you 
do  not  seem  to  think  it  strange 
to  put  a  "the"  in  italics  and  an 
"International  Paper  Com- 
pany" in  another  type  and 
"Chicopee"  in  another.  If  T 
have  a  right  to  put  a  "the"  in 
italics  or  a  freak  type  and  "In- 


ternational Paper  Company"  in 
another  type  and  "Chicopee" 
in  another,  then  I  have  just  as 
much  right  to  divide  my  name 
or  the  title  of  a  book  into  sev- 
eral type  faces.  One  would  be 
just  as  attractive  and  no  more 
erratic — no  more  impossible — 
than  the  other.  Why  isn't  it  a 
law  of  common  sense  that  a  con- 
secutive unit  of  thought  must  be 
expressed  in  the  same  kind  of 
material?  A  principle  is  a 
principle,  and  when  you  violate 
it  there  ought  to  be  a  very  good 
reason  for  the  violation. 

What  about  the  particular  point 
to  which  you  want  to  call  at- 
tention? I  have  an  idea  that 
underlining  'was  invented  for 
that  purpose.  In  writing  you 
underline  to  show  an  italicized 
word.  It  seems  to  me  that  the 
use  of  italics  in  the  middle  of 
sentences  is  a  fad,  pure  and 
simple,  and  for  the  life  of  me  I 
can  not  see  why  we  should  not 
underline  a  word  as  well  as  to 
place  it  in  italics.  But  I  have 
seen  many  an  italicized  word 
also  underlined.  That  is  nega- 
tion. Italicizing  and  underlin- 
ing is  doing  the  same  thing 
twice ;  it  is  doing  nothing  by  the 
process  of  negation.  I  don't 
suppose  there  are  many  among 
themasses  that  do  not  know  that 
tw^o  affirmatives  make  a  nega- 
tive and  two  negatives  make  an 
affirmative;  one  kills  the  other 


■ 
■ 


§ 

§ 


^(KBC 


]Bnc 


:]DDD( 


IDC 


DBS 


112 


nmi —  imoi inoBi ign'  iniai  icana 

Q| 

It  seems   to   nic   that,   if    1    am  ratnc    at   the    bci^innin*;   more 

rii^ht.  uiuierliiiini;  is  the  thini^  often   tliaii   otherwise?      If   the 

to    do    ireiieralK,    because    vou  initial    is    used    there    must    be 

preserve  the  unit\  of  expression.  ,u;<)mi,  clear  judgment  as  to  four 

W'howoulii  think  ot  cxpressini^  things:    The  initial  must  be  con- 

a  luiitv  of  thou^L^ht  in  a  divided  sisteiil    in    character    witii    the 

A\av,  in  more  tiian  one  medium  type   nou    use   after   it.     There 

or  kind  of  material?  are    those   that   stand    three   or 

,,     ,  ...  .    .  four  lines  below  the  place  they 

Perhaps  this  IS  one  of  the  sun-  ^^^.j^,         ^^^^^^    renaissance   orna- 

plest  and  the  most  glaring  faults  ^^^^.^^^ '^^  ^^^^^^  ^^^  j-„  ^,^^  ^^^^ 

that  we  see  in  our  average  ad-  ^^^  ^  cxtendmg  over 

vertising-that  beastlv  wav  ot  ^^^^^^  ^^^  fol.r  lines  of  used'space. 

i       putting    anvthmg    and    everv-  j^  ^,^^.  j^^j^j^^^  j^  ^^^^      .^^  ^,^,.^.^. 

"       thimi   in    Italics.      "  1  he,     "A  ** 


and    "And"   italicized    are   the 


or  four  lines  below  the  ne.xt  let- 


,             •      ,     1  ter,  with  which   it  belongs,  to 

jov  ot  some  people,  particularly  ^^^^^^^  ^^^^^^^^  ^^^^  ^^^^  ornamental 

1    they  can  get  a  little  cimx  on  ^^^^^  ^^  ^,^^^     ^^^^^  ^- ^^^^^  .^^      .^^^_ 

the  end  ot  the  "I  he.       On  the  ,    The  letter  must  be  con- 

tace  of  ,t,  isn  t  it  foolish  to  cater  ^j^^^.^^^  .^^            ,^^^^^  .^  ^^,^,^  ^^^^^^^ 

to  the  impossible  absurdities  of  ^^  ,,,,,,i,,,,^,  j,,  „v^,.     Some  of 

Ignorance  to  bring  goods  before  ^^^^^^    ^^^.^.^^^    ,^^^^    ^^^^^    ^^^    ^^jl 

general  intelligence?    The  ab-  ^,^,^^^^,^,^  ^^.j^,^  j,^,  ,i^^  ,,^  ,^,, 

surdity  detracts  from  the  power  ^    ,^^^^.^.    ^^^^,^^    ^^.^.^^    ^ 

to  appreciate  merit.  ^^^^^    .^.^-^^    occupying    more 

Now  about  the  matter  of  ini-  than  three  lines.  The  shape  of 
tials.  There  is  a  tendency  now  the  initial  should  be  in  charac- 
among  people  of  taste  to  omit  ter  with  the  type  that  follows  it, 
them  everywhere.  This  is  sure-  and  the  decorative  matter,  if  it 
Iv  better  than  use  at  random,  is  historic  at  all.  must  coincide 
The  initial  is  so  clearly  asso-  \\ith  the  type,  historically,  anci 
ciated  in  our  minds  with  orna-  also  with  the  subject  of  your  ad. 
mental  stuff  that  it  is  almost  im- 
possible to  separate  (unament  Any  decorative  initial  \yith  ma- 
ami  initial  into  two  things  and  terial  around  it  is  not  good  in 
think  of  them  as  two  things.  Do  combination  with  type  of  a  dif- 
vou  not  think  that  the  initial  ferent  school,  or  kind,  or  idea, 
exists  for  the  same  reason  that  and  it  is  not  good  when  it  says 
the  "The"  in  italics  exists?  one  thing  in  decoration  and  the 
Isn't  it  merely  a  matter  of  put-  reading  matter  says  another 
ting  something  pretty  or  deco-  thing.     "Decorative  stuff''  is  a 


B.-wi iniMr  imani  IPM( 


113 


Dt 


name 


3Ba 


dangerous  thing.  We  can  say 
one  thing  with  the  initial,  an- 
other with  the  decoration,  an- 
other with  the  alphahet  we  are 
using,  and  another  in  the  words. 
There  can  be  four  things  said 
all  at  once  to  the  intelligent 
man — but  his  intelligence  will 
likely  not  enable  even  him  to 
get  them  all  at  once. 

All  this  material  should  say  the 
thought  we  are  trying  to  bring 
out.  The  thought  is  not  "pret- 
ty";  ordinarily,  it  is  not  "deco- 
rative," and  the  decoration  must 
be  subordinated  wholly  to  the 
thought,  if  we  are  going  to 
make  the  thought  count.  "Or- 
namentation" destroys  thought. 
Decoration  embellishes  it.  This 
is  the  age  in  which  thought 
counts — an  age  of  mental  strife, 
of  mental  push,  of  mental  sug- 
gestion. Things  are  very  much 
more  suggestive  now  than  they 
ever  were  in  the  world's  history. 
In  business,  in  commercial  life, 
and  in  social  life  detailed  ex- 
pressions are  giving  place  to 
suggestion  or  suggestive  mate- 
rial. 

I  am  trying  to  make  you  see  the 
value  of  elimination  and  to  dis- 
criminate as  to  "what  goes  with 
what."  To  eliminate  decora- 
tive matter  and  to  keep  the  dec- 
orative material  and  type  all 
one  is  harmony.  The  tendency 
in  life  and  progress  is  to  do  just 


that;  there  is  no  live  progress 
which  does  not  tend  to  work  to- 
ward the  suggestive  and  away 
from  the  detailed  expression,  so 
as  to  conserve  time  and  expense 
and  to  develop  individualitv. 
In  so  far  as  we  reduce  to  the 
simplest  terms  the  way  of  tell- 
ing things,  we  shall  be  in  the 
line  of  progress.  The  process 
of  elimination  should  be  active 
more  than  anywhere  else  in  the 
choice  and  arrangement  of  type 
and  decorative  material. 

Let  us  reduce  the  question  of 
type  to  a  clear  working  basis  as 
expressing  thought.  Even  if 
b-o-y  spells  boy  and  e-l-e- 
p-h-a-n-t  spells  elephant,  I 
could  select  the  type  so  that 
each  would  look  more  like  the 
other  than  itself.  As  I  said, 
then,  if  I  am  expressing  a  thin, 
transparent,  indefinite  thing,  I 
won't  try  to  do  it  with  a  Dutch 
alphabet.  If  I  want  stability, 
strength,  hard  material,  large, 
ponderous  masses,  I  will  not  at- 
tempt to  get  them  with  a 
French  letter,  nor  with  a  letter 
^hat  is  akin  to  the  illustration  I 
gave  you  of  the  wading  birds. 
If  I  am  going  to  use  historic 
type,  T  must  use  it  in  a  way  that 
will  allow  it  to  mean  what  it 
stands  for. 

Again,  I  must  make  my  initials 
mean,  in  decorative  motive,  in 
size  and  shape  and  in  character, 


=)BB 


114 


01 — 


iuooc: 


DQmc 


nucc 


DEJC3C 


DDI 


a 


u 

■ 


the  same  thing  as  the  type  witli 
wliich  1  use  them,  ami  there 
must  be  some  discrimination  as 
to  their  size.  Italics  anei  undcr- 
linintjj  cannot  be  usc(l  w  ith  the 
same  word.  Underlinint^  R^n- 
erally  is  better  than  italics  be- 
cause that  does  not  disturb  the 
thout^iit.  \'ou  kncnv,  psycho- 
loL^ically,  tiiat  every  time  there 
comes  a  clianee  in  the  unit  of 


'rt' 


thought  there  comes  a  mental 


jar  as  you  adjust  yourself  to  the 
new  train  of  suggestion.  If  I 
change  my  type  I  go  on  another 
track,  ant!  must  get  back  again 
to  the  track  1  was  du  in  the 
first  place  befoic  I  can  proceed 
with  the  thought.  Consistency 
is  the  kevnote  in  this,  just  as  it  is 
in  the  choice  anil  arrangement 
of  all  materials  with  which  the 
human  attempts  to  express  his 
mental  processes. 


AN  INDI'SIRV  CANNOT  POSSIBLY  BE  SEPARATED  FROM 
THE  IDEA  WHICH  THE  PEOPLE  HAVE  OF  WH.AT  IS  THE 
THINC;  TO  BE  DONE;  THERE  CAN  BE  Ni)  INDISIRV 
WITHOUT  ART  IN  IF.  THE  MORE  ART  THERE  IS 
IN  IF  THE  BETTER  THE  INDTSTRV,  MoRALI.V. 
COMMERCIALLY,  EDUCATIONALLY  AND  EVERY  OTHER 
WAY.  THERE  IS  NO  SUCH  THING  AS  DIVdRCINC; 
CONCRETE  EXPRESSION  FROM  ART.  NO  MAFIFR 
HOW     MICH     Yor     MAY     DESIRE     TO     DO     SO.      F.    A.    P. 


acBc 


naac 


laEQBlC 


)BD( 


"5 


\H\\  topo(;raphy 

OF  ADVERTISING: 
A    Ri:CAPrrULATION 

C    H    A    i'    T    !■:    R  T    H    X 


DC3C 


Doac 


Dcmiic: 


noDC 


3aB[ 


THE  TOPOGRAPHY  OF  ADN'KR- 
TISING.    A    RIXAPITULATION 


Q 


8 


C  H  A  PI"  V.  R       X.      Ill  the  the    appearance    of    the    entire 

study  hiyout.  or  set-up,  of  tlie  ad.      I 

of  the  science  of  j^eography,  or  use  this  term   in   preference  to 

the  science  of  ideology,  we  use  yours  because  topoii;raphv  will 

the     word     "topoi^raphy,"     to  include  the  illustrations,  the  de- 


THE  SIDE  HEAD 


VERTICAL  TURRET  LATHE 


^Ttff^ 


The  Blllard  Machine  Tool  Co. 


UtOCtfOKT.  CONMCTICVT 


vsniD  fTnTU  Of  A>tt«ic  \ 


GOODRICH 

DRUGGISTS.  SURGEONS 
AND   MISCELLANEOUS 

RUBBER  SUNDRIES 


k^ 


The  a  F.GOODRICH  COMPANY 
FacKMMt:  AKRON.  OHIO.  U.  S.  A. 


nooKLF-T  COVER  SHOWING  CI.E.XR- 
XESS  THROUGH  SIMPLICITY,  DIGXITV 
THROUGH  RALANCE  AND  INTKRE.'^T 
THROUGH    SIZES    OF    SP.\t  E    AXH   TYPE. 


ANoTllLK      GOOD      CoNllR,       HIT       l.i..-S 
HARMONIOUS     0\     ACCOUNT     OF     THE 
EMPLOYMENT       OF       AN       IN.VPPROPRI 
ATI:  AND  NON. SUGGESTIVE  TU.VDE.MARK. 


inean  "appearance  of  surface."  scriptive  or  decorative  motives, 

1    know  that  you   have  a  term  as  well  as  the  tvpe  matter.     In 

"typotrraphy,"    but    "topotrra-  t^eofri-aphv  and  Lreoloirv,  topog- 

phy"  seems  to  me  a  little  broad-  raphy    means    the    i^eneral    ar- 

er  than  your  word,  and  I  am  ^n-  rani^ement  of  the  mountains,  the 

in^  to  use  that  as  descriptive  of  hills,   the  prairies,   the  plains, 


nniBii 


DBBC 


Dane 


HOD 


119 


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3  BHI D I 


I  Die 


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§ 


1 


the  valleys,  the  ponds,  the  lakes 
and  the  other  materials  that  go 
to  make  up  the  surface.  When 
a  topographical  map  of  a  coun- 
try is  made,  a  person  who  un- 
derstands the  forms  used  can 
see  just  how  and  to  what  ex- 


^^1  F  T  1  E  T  H 

DIN  NEK    OF 

THE  ADVERTISING 

MEN'S 

LEAGUE 

OF    NEW    YORK 

HELD  THURSDAY  EVENING 
NOVEMBER  THE  SECOND 
AT  THE  ALDINE  CLUB 


EXCELLENT 
R  A  N  G  E  M  E  N  T 
OF     TYPE     FOR     A 


CHOICE.  A  R- 
A  N  D  D  I  S  P  L  AY 
DINNER     PROGRAM. 


tent  one  section  is  related  to 
each  of  the  others.  A  person 
who  understands  the  language 
of  topography  can  read  a  topo- 
graphical map  and  know  pret- 
ty nearly  all  there  is  to  know 
about  the  surface  arrangement 
of  any  locality  on  the  earth's 
surface.  Why,  then,  should  not 
a  man  be  able  to  read  all  there 


is  of  an  advertisement,  all  the 
illustrative  matter,  all  the  orna- 
mental matter,  and  all  the  type 
matter  in  perfect  sequence,  one 
idea  depending  upon  the  other 
logically,  if  he  knows  the  lan- 
guage of  arrangement? 


TEL-ELECTRlC    PROGRAM 

JANES    M 

AN^EY      3AJSO 

PIANO 

NUMBERS 

I      OVt^TURC.   THE    P*NR    tADY 

iv>M  CAar.. 

I     SECOND    HUNGARIAN    ti 

MAPSODY 

...:.          ■ 

J.     LA    fEf..'. 

>.....«.,          i 

f     eOONCC    RAG 

NtlL  Hortt 

^     THE    SPANISH   OANCEB 

.      01    CMi-'-* 

1     MYSTEHiOOS    KAC 

7.     FAUST    hANTAlSIc 

...:.     ■-   -   . 

VOCAL 

NUMBERS 

f.    TME    TOPER    AND    THE 

aevii 

t€i!i^:j^        ' 

!.     TME    KUNGAJtlAN    HCRSCMAN 

one  i/e*u 

i 

L 


PAGE  FROM  THE  SAME  PROGRAM:  GOOD 
ARRANGEMENT,  BUT  HEADING  LS  TOO 
SMALL  FOR  FORCEFUL  ATTRACTION, 
THUS  INTERFERING  WITH  THE  EN- 
TIRE     TOPOGRAPHICAL      SEQUENCE. 


It  seems  to  me  to  be  the  near- 
est to  exact  analogy  between 
your  work  and  other  sciences 
that  I  have  been  able  to  find, 
because  the  power  of  your  ad- 
vertisement is  tested  by  its  effi- 
ciency, and  this  is  clearly  relat- 
ed  to   the   matter  of   display. 


1 

BOBC 


I20 


QOII 
B 


DDBI 


DBB 


Whether     t  h  c 
iulvcrtiscmcnt 
is    ^  o  o  d,    or 
w  h  c  t  h  c  r    it 
i  s     c  (li  c  i  c  II  t 
ti  n  a  n  c  i  a  lly, 
c  ommcrcially, 
etc.,    depends 
on    that.      The 
ti  n  a  1    test    of 
c  V  e  r  y  adver- 
tisement is  the 
commercial  re- 
turn,    riie  first 
question  is, 
does     it    brini^; 
business?    The 
first    result 
h)oked    for    by 
the  advertisinij; 
man    is    an    in- 
crease    in     de- 
mand for  what 
he     advertises. 

Let  us  clearly 
u  n  d  e  r  s  t  and 
that  all  the 
principles  o  f 
a  r  r  an^ement 
we  have  talked 
about  up  to 
this  time  are 
included  in  the 
topoi^raphy  of 
advert  isin^. 
There  can  be 
no  selection  of 
i  1 1  u  s  t  r  a  t  i  o  n , 
ornament,  o  r 
t  v  p  e   matter, 


^^■c  tidie  off  our  hats  to 
nobody  on  the  subject  of 
correct  styles  for  men  and 
Youni?  men. 

Here  are  Fifth  Avenuo 
fabrics  and  fashions  minus 
Fifth  Avenue  prices. 

Material,  model,  fit  and 
wori'imanship  such  as  only 
the  best  New  York  stores 
can  give. 

Ever}'  suit  in  our  collec- 
tion made  £S  an  individual 
garment,  and  the  most 
honest  and  reliab]e  tailor- 
ing. 

If  this  is  the  kind  of  cloth- 
ing you  '^ant,  you  are  the 
customer  we  ^vant. 

Suits,  $15  and  upwards. 
Overcoats,    $15     and    up- 
wards. 

A.E.Ruggles 


SIXCI  r   Cnl.l'NfN  NKW.^rAI'KR  .\I).  II.M> 

TR\TiN(;  (;(toi)  T()i'<«;K,\riiv   iiikih  (,ii 

(HOICK    OF    TYPK.    .ARK.VNr.F.MKNT    .NND 
1!.\I..\.\CE  or  I1E.\DI.NG  A.\D  SIG.NATLKK. 


and    there    can 
l)c  no  arrange- 
ment   of    them 
in  an  advertisc- 
m  e  n  t     which 
does     not     call 
for  a  consider- 
ation   of    each 
of      the      prin- 
ciples    of     ar- 
r  a  n  i;  e  m  e  nt. 
r  h  c  s  e     prin- 
ciples  also   ap- 
plv   in   arran^- 
inij^   everything 
else  which  man 
sees,  hears  and 
feels,    and 
w  h  i  c  h       h  c 
ori^anizes    into 
units,     because 
the     principles 
of  arran,ti;ement 
are  the  same  in 
music,  in  a  pic- 
ture, in  the  side 
wall  of  a  room, 
in  an  article  of 
furniture  or  in 
anv  other  field 
of    design. 
These    p  r  i  n  - 
ciplcs  must  ap- 
peal  to  human 
intelligence,  or 
there  is  no  in- 
telligence pres- 
ent.   The  more 
we    investigate 
different  classes 
of  people   and 


■ 


■ 
I 


■  oc 


DBDC 


121 


BCS  C 


IDIBC 


I^BDBBC 


DBJEIC 


DIBDC 


Dnni 


come  back  to  our  own  work,  the 
more  sure  we  are  that  we  are  on 
the  right  track  so  far  as  these 
principles  are  concerned. 

^e  '38° 

JUDComobile 

Xittle  Six 

YOitfi  60  "Horse  'Power. 


Exactly  the  Size  Car  that  You 
Want.  A  Little  Six  in  Appear- 
ance, in  Economy,  and  in  Conven- 
ience. A  Little  Six  with  a  60 
Horse  Power  Motor  possessing  the 
reserve  potential  of  a  Big  Six. 
Ten  Inch  Upholstery. 


Locomobile  Company  of  America 

M«w  Ywk 


JIIMkaffB  n.  J.  BMltfv 

I  MOTOR  C&>  CQ^ 


K£MSON  UPO.  00a 
1410  B«]foM  AT», 


NEWSPAPER  AD  TYPOGRAPHICALLY 
GOOD  IX  CHOICE  OF  HEADING  TYPE  TO 
HARMONIZE  WITH  TRADEMARK.  TRADE- 
MARK SHOULD  BE  RAISED  UNTIL 
FLUSH   WITH  THE   LAST   LINE   OF  TYPE. 

Now,  one  modifying  state- 
ment: There  is  no  law  with- 
out an  exception.  There  is 
always  the  exception  which 
proves  the  law  or  the  rule. 
There  is  no  advertisement  to 
which  every  law  of  arrange- 
ment can  be  applied,  and  there 
is  no  advertisement  to  which 
some  of  the  laws  of  arrange- 


ment can  not  be  applied.  You 
cannot  apply  all  the  laws  sup- 
posed to  govern  any  class  of 
things  to  any  one  thing  in  that 
class.  There  will  always  be 
form  limitations,  size  of  type, 


The  Norton  Grinding  Machine 
As  A  Stock-Removing  Tool 

Note  The  Resemblance  Of  Thes«  Frafiments  To  Lathe  Chips 


Th«»  xn  mAoy  ex>^\  wKrr-  -ri-- 
ful  can  tw  rctnov^  much  fa-Kr  wilh  i 
{n&dmi  vtiMl  tKia  with  a  milling 
cutter  or  a  tithe  tixit 

And  wbcD  yoti  come  t<j  oaiidrr  it. 
tbr  crmdinf  nhnl  a>  ooii  tniAr  ■•  n-tUy 
•  mdltnc  cutler  w-iih  miUiMu  of  (^iliof 
Ucih  and  their  mrthijd  of  cuituc  a 
much  tht  umr. 

Sow  the  Mkfoplio'ivr^ph  of  Chip* 
from  a  oi-xtrrti  frwding  wheel  and 
their  rewmblutije  ij  btht  chip*. 

Allhoujh  the  teeth  o(  a  pp^Ddinf 
wheel.  o(  coune.  are  not  at  lv%t  nor  a^ 
(troo^  at  the  teeth  of  a  iitcel  cvtier,  md 
cannot  cutis  deeply,  yet  they  arc  capa- 
ble tti  ntun{  at  nucb  freater  ^peed. 


«  vl  ti,  ii»ere  art  to  masy  <rf  th«n. 
in  i  gi^ra  iiait  they  can  Aa  inan  wixlc, 
pnr<-i4«<l  the  wiirk  □  ai  (ucb  nature  aa 
to  Jlo*  a  larje  aumbrr  o(  Ibeie  oit'.ia| 
point.  lo  tie  M-*A  nmultaneoutly 

Et^tll  hundred  millioB  per  nunu'r  ii 
mat  uacodicnm  and  fovr  hundred  duUmo 
per  ounute  it  very  cosimoa. 

It  mu.t  tw. remembered,  ho^wver.  that 
a  hraiy.  subitaatLal  and  ncid  suu'hiac 
it  re<:;\iired.  and  that  the  Nortoo  Cnod- 
■ag  Machine  ii  exact!)   luch  a  ouchise. 

%'e  would  like  to  take  up  Ibe  qtiaiioa 
of  ^odtn^  »ith  yvM  in  detail  We 
believe  it  mil  pay  you  \o  do  y«nu  (nad* 
iof  the  .Vorti^  way 


Norton  Grinding  Co. 

ChlcafoSioN    II  Notth  JcSoxxi  Stn*i  UorCMTer.  MftM. 


TRADE  PAPER  P.\GE  EXCELLENT  IN 
CHOICE,  PLACING  AND  CONTRAST  OF 
TYPES.  NOTE  HOW  CIRCULAR  FORM  HAS 
BEEN  USED  AS  A  MEANS  OF  EMPHASIS 
AND     AS     A     STIMULUS     TO     INTEREST. 

limits  of  the  page,  the  charac- 
teristics of  the  man  you  deal 
with,  and  the  uneducated  taste 
of  the  public  to  be  reckoned 
with.  These  prevent  the  perfect 
application  of  all  the  princi- 
ples of  arangement  to  any  one 
thing.  But,  there  is  no  adver- 
tisement made  that  some  of  the 
principles    are  not   very  active 


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una 


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and  necessary  in.    On  the  other  \Tood  chair,  no  matter  how  well 

hand,  there  is  no  advertisement  this  ornamentation  is  done.   It  is 

in   which    all    tliese   principles  the  same  wav  also,  in  advertis- 

are  possible  in  their  best  sense,  in*;,  the  first  thou<^ht  is  the  use. 


The  next  step 
to  take  is  to 
^^et  at  our 
principles  of 
criticism,  and 
to  so  arrani^e 
and  so  subor- 
dinate topics 
of  c r i  t i c i s m 
that  the  aver- 
age man  will 
h  a  \'  e  s  o  m  e  - 
thint^  to  refer 
to  bv  which 
he  may.  if  lie 
cares  to,  judii^e 
the  topoirra- 
phv  of  any- 
thing in  which 
he  is  inter- 
ested. 


In^ersolrlrenton 
O 


19 

Jewels 


2A  '25 

and  $35 


V  rwa  wiAt  ■  witch  iKat 
rfpf«cno  the  high«( 
po»CT  in  wilch  nunuli£' 
tunng,  which  u  it  once 
k  Junble  piece  ol  nuchm* 
enr.  I  bclutitui  omtmenc 
hnd  an  accunte  time- 
keeper, in  which  e^'ery' 
ounce  ol  watfe  in  nunu- 
tacTure  hat  been  removej 
to  ai  to  keep  the  pnce 
within  reach  o(  any  man. 
in  which  syatematic  man. 
i^ement  and  eeonomical 
application  of  factory 
methodi,  a>  well  u  ■ 
•pirndiil  lalea  lyatem  an<l 
wije  ex  petience  in  mark  ee- 
ing  waichn  have  aU  been 
uied  to  produce  the  b«r 
w«ch  nude,  at  a  lowerpvio 
than  luch  watchet  have 
ever  been  wAl  before. then 
•ak  your  jeweler  to  aho^ 
vou  andeantaiiito  vouthc 
b^gertoil- Trenton  Wtlch. 

ROBT.  K  INCCRSOLL  A  BRO,  125 


ta  Watch  Uguannrecd  uto 
movement,  il  adjuated  to 
five  poaitioni,  two  more  than 
required  for  railroad  teat,  t* 
carefully  aiacmbled  in  a  caae 
that  fita,  can  be  had  in  ft 
twenty-year  jjold-fiUed  caae, 
hal  nineteen  jewela.  and  will 
prove  a  IJe-time  companion' 
to  any  (nan  wiie  enounh  to 
view  thia  queation  of  watcK 
buying  in  a  aentible  bght. 
The  Ingerioll'Trenton 
Watch  ta  leeond  to  none.  n« 
matter  w  hat  tta  coat  orw  hat  itft 
appearance,  in  every  quaLty 
Inat  makn  a  watch  valuaUe. 
Ingenoll-Trenton  Watche* 
aoldonlv  by  reapunsble  jewel, 
era  everywhere.  Nine  thou- 
sand {ewelera  handle  them 
For  a  com  plate  a/td  conduaivr 
dcacription  of  the  IngeraoU. 
Trenton  Watch,  wnte  today 
lor  the  book.  "How  to  ludg« 
1  Watc^■• 

AakUaJ  B»Uix.  N»»  York 


M.\G.\ZI.\E    P.\GE    WHOSE    TOPUGR.M'HY 
IS        INTERESTING        .\ND        EFFECTINE 
THROCGH   THE    CHOICE    OF   TYPE.    DIVI 
SION.'^     or     RACKGROrxn.     CHOICE     Ol- 

i;ouDER,  .\rr.\ngi:ment  of  b.\se, 
coon  nisPL.w  .\Nn  the  excellent 
lse  of  occci.t  r..\i..\NCE  IN  the 
PL.vciNG    OF   the    ILLL'STR.VTIGN. 


T  w  c   n   t 

through  "^00 
a  (1  V  c  r  t  i  s  e  - 
ments  to  see 
h  o  w  m  any 
times  I  got  the 
thought  at  the 
first  glance.  In 
a  good  manv 
instances  I  got 
some  other 
thought  — the 
a  1  t  o  g  e  t  h  - 
e  r  wrong 
thought  — be- 
fore T  read 
the  text.  Vou 
first  get  sight 
c  o  n  n  e  c  - 
tions,  but  the 
thoughts  have 


to  come  at  the 

In  applied  art      ^"^^'^   <^^''   r.ACKGRorNn.   choice    of      same  time. 

r  I    •       J  IIOUDER,        .\RRANGEMENT       OF        B.\SE,         ,r 

ot     any     kind      ,;o,,n   display  and  the  excellent      Verv     manv 
we  have  what      '--■^e    ov    occclt    p.alance    in    the      advertise- 

n        ,,  placing    of    THE    ILLUSTRATION.  /     -i    l 

we     call     the  ments  fail  be- 

use   of   the   object   as    the    first  cause    the    eve    does    not    read 

point  of  criticism.     If  you  have  them     easily,     or    because    the 

a  chair  in  which  you  can't  sit  mind  does  not  read  them  easilv. 

with  ease,  it  is  not  a  complete  or  because  they  say  a  (]irferent 

chair,   even   though    it   mav  be  thing    to    the    eve    and    to    the 

beautifully  carved.     If  it  is  so  mind, 
shaped  or  so  carved  on  the  back 

that  it  tears  your  clothes;  or  if  This   implies  that  three  things 

it  has   a   thistle  or  a   rose  that  should  harmonize.     If  the  tvpe 

sticks  into  vour  back,  it  is  not  a  is  harmonious  with  the  thought 


B 


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s 


it  is  good;  if  the  illustration 
says  the  same  thing  that  the 
thought  and  the  type  do,  it 
is  good;  if  the  decorative 
matter  says  the  same  thing — or 
does  not  say  anything — it  is 
good.  If  you  have  laurel 
leaves,   and   a    Roman   wreath 


the  necessity  for  principles. 
Even  though  a  man  is  an  artist, 
if  there  is  no  principle  back  of 
what  he  does  it  is  not  practical. 
If  you  are  not  an  artist,  there  is 
certainly  a  necessity  for  princi- 
ple, or  your  work  must  be  dis- 
organized.    We   begin    in    art 


i 
i 


A  CAR  CARD  ILLUSTRATING  THE  FACT  THAT  ATTEXTTON.  INTER- 
EST AND  MERIT  MAY  BE  ATTRACTED  AND  EXPRESSED  THROUGH 
ARRANGEMENT.     NOTE     SPACES,     MARGINS,     BALANCED     PARTS,     ETC. 


and  festoon  belonging  to  the 
age  of  Roman  games,  it  will 
dispute  your  advertisement  of 
machinery,  it  will  dispute  your 
advertisement  of  chiffon,  or  it 
will  dispute  your  advertising  a 
French  product,  because  it  will 
speak  another  tongue.  No  one 
of  these  three  things  may  dis- 
pute the  other,  and  they  must 
none  of  them  dispute  the 
thought  of  any  other  if  you 
want  a  clear  advertisement. 
This  shows  the  importance,  and 
not  only  the   importance,  but 


expression  with  the  study  of  the 
first  principle  of  form. 

Following  the  type  harmony 
with  the  thought  of  the  ad,  and 
illustrative  and  decorative  har- 
mony with  the  thought  of  the 
ad,  we  come  to  the  third  prin- 
ciple of  criticism — ''Consistent 
sizes  and  shapes."  After  we 
have  found  that  a  thing  is  con- 
sistent in  material,  we  may  find 
that  it  is  not  legible.  It  is  then 
time  for  us  to  see  if  we  have 
done   our   utmost   to   make   it 


1 
■ 


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IB 


124 


BOB' 

an 


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Dcmac 


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nraa 


Ics^ible   by   piittinjT   it   clearly,  and  make  sure  that  everything 

plcasinu:ly  and  tellingly  on  the  is  properly  arranged  around  it. 

page.     \N'e  must  see  what  mar  We   learn   to   determine   when 

gins  we  shall  leave  around  the  one  mass  pulls  away  from  an- 

page,  and  what  blank  spaces  we  other,  and  when  thev  hold  to- 

shall  leave  between  the  groups  gether.     \N'e  learn  that  circles 


1 


a 

Q 


The  Home  Of  The 
Card  Organization 


Card  Tap  Service 
Never  Stops 


c 


Ktwn  CW<  !••  »M  M>  BMK  -1 


tf  FM  ton  W»  wmM  iW^^  aM««i 


t  •>  to  CM^  r«k 


vwa»  Ml  ■ 


M  »■«<  W  te   M«  *M  Cd««   fW*  MB  I  M*  ■ 


S.  W.  Card  M^f  g  Co.,   Mansfield, Mass.,U.S. A. 


Nrw  tofk  S(ur«.  Hi  Liberty  StTMC 


lUrUo  iiurt.  .V/thiii  K^;*<r.  Mir..  AJl»  Jikob«tr»M«  >4 


0 


DOLT.LE  iwr.l-:  ARRANT.KMEXT  EXt  ELLENT  IX  .•\LL  BUT  OXE  I'ARTICLLAR;  THE 
ILLUSTRATIOX  OX  THE  FIRST  PAGE  IS  A  LITTLE  TOO  STRONG.  WE  NATl'RALLY 
r.EGIX  TO  READ  AT  THE  LEFT,  AXD  THE  STRONGEST  STIMULUS  SHOULD 
BE     ON     THE     RIGHT     IIAXD     PAGE     IF     IT     IS     IMPOSSIDLE    TO     BALAXCE    THEM. 


of  type  matter;  in  short,  how 
we  shall  alter  the  topography 
of  the  advertisement.  The 
Greek  law  of  sizes  and  the  law 
of  consistent  and  inconsistent 
shapes  help  us  to  see  where 
a  seemingly  impossible  thing 
may  be  made  fairly  good. 

The  first  step  is  to  see  if  the 
margins  are  right;  then  we 
must  locate  the  optical  center. 


do  not  go  well  with  squares, 
and  that  inconsistent  shapes  and 
inconsistent  sizes  are  readily 
distinguished  when  we  test 
them  by  the  Greek  laws  of 
area  ami  well-related  shapes 
and  sizes.  The  way  we  should 
do  in  designing  such  things  is 
to  cut  pieces  of  paper  and  place 
them  on  the  page  we  are  going 
to  use;  then  move  them  about 
and  sav  that  this  shall  represent 


il 

BCBC 


iiaisr 


DDOII 


=1BB( 


12  = 


the  title,  and  this  the  descrip-  give  ten  dollars  if  you  could 
tive  matter,  and  so  on.  It  is  a  see  a  hill, 
very  good  thing-  to  see  the  lay-  r)  i  i  j  • 
om  in  the  abstfact.  Then  you  ^"^'  t^^^gh  an  advert.sement 
can  make  sure  of  vour  one-  '^''\  ,"  P"f<="ly.  consistent 
thought  arrangement.  The  woula  perhaps  in  t,me  be  mo- 
more  vou  heave  ideas  together  "ownous,  we  need  not  worry 
and  see  how  much  vou  can  use  ^^out   that-the   w,de   variety 

4.U    1  ..  ^^4-\r^,,  „r;ii  K«  of  material  we  use  will  prevent 

at  once,  the  less  apt  vou  will  be  .     ,            .t. 

.1     ^  4.u^  .,„;^  ;^^  «-K^.,nrK«-  monotony.     And,   speaking  of 

to  preserve  the  unit  or  tnougnt.  .       -^                  l        i    ^  i 

^  consistency,  remember  that  the 

The   next  principle,    is   "Con-  nearer    a     piece    of    material 

sistent  balance  of  attractions,"  comes  to  the  edges  of  an  ad  the 

horizontal  and  vertical.  If  you  more    it    should    be    consistent 

will  place  the  horizontal  line  a  with  them.     If  you  bring  your 

trifle  above  the  real  center,  vou  erratic  things   away   from   the 

will  get  its  perfect  feeling— the  edges,  you  will  see  how  much 

optical  center.    You  bid  for  at-  better  the  efifect  is.     In  every 

tention  bv  the  position  of  that  picture,    every    advertisement, 

line  and  if  vou  put  a  spot  there,  every  side  wall,  the  center  of 

you  make  two  bids  for  a  look,  interest  is  away  from  the  corner 

or  edge. 
In  balancing  your  attractions, 

keep  in  mind  also  the  principle  There  is  so  much  overdoing  in 
of  movement  which  we  studied  one  place,  over  emphasizing  in 
some  time  ago.  The  eye  natur-  one  spot,  doing  one  thing  to 
ally  follows  lines  or  spots  death,  that  I  want  to  go  over 
placed  in  succession,  in  prefer-  in  brief  the  principle  called 
ence  to  the  structure  of  the  Emphasis  in  art.  Sometimes 
page.  It  is  something  opposite  we  call  it  stress.  If  you  empha- 
to  the  general  build  of  the  unit  size  one  thought  with  color, 
which  the  eye  detects  quickly,  with  size,  with  shape,  and  with 
-r  .  ,  ,  ,  ,  ..  position  vou  have  no  method  of 
It  is  probably  true  that  if  we  emphasis  left  for  anvthing  else 
had  a  perfectly  consistent  you  mav  want  to  bring  out.  It 
movement  throughout  an  entire  jg  ^  rafter  of  hitting  just  hard 
ad,  there  would  be  danger  of  enough,  in  just  wavs  enough- 
its  getting  monotonous.  If  you  making  a  thing  just  important 
should  ride  over  the  prairies  enough,  and  still  having  the 
from  Western  New  York  to  the  means  left  to  do  something  else 
Missouri    River,    you    would  with,  so  that  there  is  created  a 


s 


§ 


amc 
126 


B 
IB 


nmi iBBli  icimi  iMPC 


u 
§ 
a 


i 

a 


natural  sequence  of  thinj2;s  and  All  these  things  are  reco^^nized 
a  consccjucnt  natural  sccjucncc  principles  in  applied  art.  I  have 
of  thout^ht.  An  advertisement  restated  them  as  applied  to  ad- 
ought  to  read  1,  2,  .\  4,  5,  6,  in  vertising,  for  advertising  is  an 
importance,  no  matter  how  it  is  applied  art.  If  it  is  not^an  ap- 
placed.  Hut  the  sequence  does  ^,y^^^^  ^^^^  j^  jg  .^^t  anvthing.  If 
not  always  have  to  follow  from  j^  j^  j^,^^  ^,^^.  ^^^^^^  far-reaching 
the  top  to  the  bottom  of  the  ,^f  ^j^^  y^^^  .^^^^  ^^  ^^^^ 
advertisement.      1  hat    is   otten  ^^^  ^.^^^  j  ^^^^  mistaken  in  mv 

about     the     worst     thing     you     •     ,  .      n    .    r  »i 

,    ,  ^     -^  judgment.     But  if  there  is  any 

\^.    \/^".                      ,  undignified   catering  to   cheap 

iMnally,  if  you  agree  that  every  .  ,         .     .     .    .     '^             .  ^ 

J        •            .    I       1 J  u              ,.  trickerv  m  it,  it  is  never  going 

advertisement  should  be  a  unit  ,    -.          '          ,              •,    ,, 

in  thought  and   in    expression,  to  take  its  proper  pace  until  all 

do  vou  see  that  a  good  many  of  ]^'^^  ''  S'^'^"  "P-  .  ^^  ^as  got  to 
theads  that  trv  to  be  catchy  or  ^e  a  perfectly  serious  interpre- 
funnv  are  inefficient  because  Nation  of  the  laws  that  control 
thev"are  not  a  unit  in  thought?  the  human  mind,  and  yield  obe- 
Sometimes  when  one  tries  to  be  dience  to  them.  Advertising 
funny,  the  reader  sees  the  fun  matter  is  appealing  to  larger 
and  misses  the  point  of  the  ad.  numbers  than  any  other  form  of 
I  think  there  is  a  great  deal  lost  applied  expression  can.  There- 
by this  attempted  funny  busi-  fore,  it  is  most  important  that 
ness,  and  the  attempt  to  be  this,  the  most  universal  of  all 
smart,  on  the  part  of  persons  the  applied  arts,  shall  accept 
not  calculated  to  be  so.  Psy-  and  obey  the  principles  of  ar- 
chologicallv  you  must  present  rangement.  that  it  mav  take  its 
most  strongly  the  thing  or  idea  place  scientifically  and  artisti- 
vou  want  to  have  most  promi-  callv  with  the  other  forces  in 
nently  impressed.  general  progress. 

THE     IDEAL     OF    THE     PRESENT    TIME     IS     NOT     CATHE- 
■  DRAL     BlILDING      NoR     ToMB     BTILDING.       IT     IS     THE 

BlILDING  OF  HO.\n-.S  AND  BUSINESS  BLOCKS;  DEVIS- 
ING METHODS  OF  TRANSPORTATION;  EXPLOITING 
GOODS  THROIGH  THE  MEDUMS  OF  ADVERTISING; 
CREATINC}  AND  SIPPLVING  THE  DEMAND  FOR 
CLOTHES,  IMPIEMENIS,  UTENSILS  AND  ALL  SORTS 
OF  TH1NC;S  PRACTICAL  TO  OIR  TIME.  OVR  AGE 
IS    A    SOCIAL,    CO.MMERCIAL,    INDUSTRIAL    ONE.       F.    A.    P. 


i 


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12/ 


STAMPED  BELOW  ''''^ 

AN  INITIAL  FlNP~nv.  n 

^H.S   BOOK   J"'?^"   :°«   -A'^UPE  TO   feful! 

^AV    AND     ro     J°  ^°  ^^^-^S  ON  ?h//o  ^^^^ 
OVERDUE.    ^°    *•  °°    ON    THE    SE^7,;rD\";: 


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UNIVERSITY  OF  CALIFORNIA  LIBRARY 


